THE SHARP ISSUE
Issue 9 September 14 Michael Taborsky/ Katie Eleanor/ Daria Belikova/ Narita Savoor/ Janina Alff/ William Evans/ Kyle Galvin/ Yoan Galabov/ Tom Selmon/ Gita Buga/ Manuela Iodice/ Yuki Saito/ Andreia & Nathalia Takeuchi/ Julin Athalia Lee/ Julia Prohorenkova/ Ben Giles
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ATLAS MAGAZINE Editors
Contact Us:
Olivia Bossert Megan Breukelman
info@theatlasmagazine.com
Graphic Designer Jessica Bailey
Contributing Writer
www.theatlasmagazine.com
www.facebook.com/theatlasmagazine www.twitter.com/myatlasmagazine
www.instagram.com/theatlasmagazine www.tumblr.com/theatlasmagazine
Bryony Hipkin
ISSN: 2056-5844 Produced by Kwintus Publishing Ltd. The opinions expressed in this magazine do not necessarily reflect those of the publisher. Although all material is checked for accuracy, no liability is assumed by the publisher for any losses due to the use of material in this magazine. Copyright Š. All rights reserved. No part of this publication may be reproduced, stored or transmitted in any form without prior written permission of Kwintus Publising Ltd. 2 Atlas Magazine
ARTICLES
EDITORIALS
Long Distance Business
Sharp Dreams
Katie Eleanor
Entwined
Written by Megan Breukelman Page 12-13 Page 14-19
Ben Giles
by Michael Taborsky Page 6-11 by Daria Belikova Page 28-39
Page 20-27
Traveller Chic
The Do’s and Don’ts of Magazine Submission
Placid
Written by Olivia Bossert Page 40-41
Straight to the Point by William Evans Page 60-61
Creative Freedom in Fashion by Jessica Bailey Page 86-87
Tom selmon
Page 116-123
by Narita Savoor Page 42-49 by Janina Alff Page 50-59
Skyscraper
by Kyle Galvin Page 62-71
Econceptual
by Yoan Galabov Page 72-79
Architectonic by Gita Buga Page 80- 85
She Puts The Weights Into My Little Heart by Manuela Iodice Page 89- 95
Blank
by Yuki Saito Page 96- 105
Cutout
by Andreia & Nathalia Takeuchi Page 106-115
Cutting Edge
by Julin Athalia Lee Page 134-145
Impact
by Julia Prohorenkova Page 124- 133 3
EDITORS LETTER
W
hen the theme of “Sharp” was decided upon its definition was a source of inspiration, “to have an edge or point that is able to cut or pierce.” This issue does just that and the submissions received have all interpreted it in unique ways. In the past few months we have had the joy of seeing beautiful, eye catching, interesting and most importantly – sharp work. Atlas is moving forward in the next few months. It’s scary for us. Atlas has grown in momentum and its increasing success and our readers support has lead us to believe that we can take Atlas to the next level. This will therefore be our last online edition of the magazine. In future, we will be printed and available on your E-Reader devices! Having always been passionate about magazines there is no greater joy than relaxing and looking through a beautifully produced magazine… on paper. Nothing thrills me more. As a photographer I know there is nothing more satisfying than seeing your work in print. We’ve asked you many times where you want the magazine to go and the answer has been unanimous. You want to hold Atlas Magazine in your hands. So we’re giving it to you. Stay tuned for December 2014. Submit to The Brisk Issue by September 30th for a chance to be in our inaugural print magazine.
Megan Breukelman & Olivia Bossert Co-Editors-in-Chief
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PLACID Editorial by Janina Alff BLOUSE Marni TROUSERS Hayk Gabrielyan
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LONG DISTANCE BUSINESS Technology has opened up vast amounts of doors in recent years. Relationships are able to blossom, friendships form and most importantly, businesses develop. 30 years ago it would have been almost inconceivable to start a business with someone you’d never met and who lived across an ocean. But that is exactly what we did…
Long distance relationships are never simple. Effort on both ends is necessary in order to keep what you have in tact, whether it be a romantic relationship, a friendship, or in our case; a business.. They may be a hundred miles away or a thousand miles away, but they’re still there. FaceTime, iMessage, Facebook–– the amount of technology available to keep people in touch is amazing. It is with these tools that we keep Atlas Magazine alive and well. Two years ago we started up Atlas, having absolutely no idea what we were going to grow to achieve; especially in such a short period of time. Some people think it’s crazy that we’ve been working together this whole time, and yet only had met in March. All that aside, we both had a dream and if we were going to have to work through it from opposite sides of the world, we were going to make it happen. I’ll admit, sometimes it’s been difficult. We’ve both sat banging our heads against the keyboard wishing the other lived in our respective country, or even continent. There have been times when Olivia has seen me at my grossest, waking up early for an Atlas call while she’s already halfway through her day. Occasionally she’ll catch me surfing Facebook at 3AM while she’s just getting started with her day. But Atlas is the thread keeping our chatter running between Europe and North America.
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While we’ve faced the hardships of not actually being in the same room, however, it’s also been a blessing. When we started Atlas, our goal was to create the most international magazine that we could.
“Our different perspectives and different connections have led the publication to become a wonderful cocktail of worldly artists.” Olivia and I, ourselves, do quite a bit of traveling back and forth in our respective continents as well, for education, family and the likes. It has been quite the journey and it is one I am always excited to continue. Olivia may be in another continent, but I don’t think a day has gone by in years where we haven’t spoken. When you’re set on a dream, it becomes bigger than the obstacles standing in the way. Our distance while growing this publication has been a continuous set of hurdles, but they are hurdles we are happy to face. Although we may have impermanent housing; Atlas is our home.
Written by Megan
Breukelman
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SHARP DREAMS
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PHOTOGRAPHER Michael Taborsky MODEL Paula Durikova @ Elite Models Milan STYLING Kim Krempien HAIR & MAKE UP Nadine Mayerhofer
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Previous page DRESS Serena Novello TROUSERS Zara SHOES Adidas ARM BANDS Stylists own This page DRESS Stylists own ARM BANDS Stylists own
JACKET Serena Novello DRESS Zara SHOES Adidas
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DRESS Zara
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TOP Zara 12 Atlas Magazine
TOP Zara SKIRT Serena Novello SHOES Adidas
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KATIE ELEANOR ANSWERS At only 21 years old, Katie Eleanor is a photographer of dreams. UK based and currently studying a degree in photography, she has been influencing photographers around the globe for years with her imaginative, painterly work. We gave you the change to ask her all your burning questions and Katie responded.
Do you prefer shooting on location or in studio? On location absolutely. Being able to be surrounded by the habitat of my characters is what makes them feel so vividly real to me. It is like they are graciously allowing me to visit their home. Is it important for your work to be shown in exhibitions? In my own creative process I directly work on prints; I am infatuated by the idea of the photograph as a tangible, sacred, object. For me, exhibitions often present the opportunity to show work to the upmost of its ability. I find that they also introduce your work to a whole new audience. It is incredibly satisfying to be able to watch people react to your art in the flesh. How do you stay inspired? It is not something you can, or should, force. Accept when you need a break, allow your mind to gather to strength. I try to ensure I am keeping creatively active. I am most heavily inspired by stories, drawings and architecture, so I allow them to fill my spirit and my own creations will always follow in due course. Where is the best place to find a stylist? Stylists are my most important creative partners; they ground my thinking and bring characters into reality. You have to put a lot of trust in one another,
and because of this my stylists are always creatives I hugely admire–– creatives whose work excites every part of my mind. Reading independent magazines and drowning myself in newly published editorial work within my city, London, is how I began collecting styling portfolios. Social media has completely opened up networking for our generation. Use it to its full advantage. How long does it typically take to plan a shoot? It takes anywhere between two weeks to two months, usually around a month though. I like to let stories fester in my mind for a small while so they can grow. Any seed needs both time and nourishment to eventually flower. I think it’s important not to get to caught up in the pressure of uploading work almost daily, you need time to refine your thinking–– shoot less but create more. How did you figure out your style? Experimenting; ensuring to loose yourself in your own brain rather than in the brains of others. Any level of creative can find fluid themes throughout their creative process, play with those themes. Remember that your style will grow and change for as long as you create, so do not necessarily put too much pressure on it to be able to always define itself.
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Ben Giles Bryony Hipkin spoke to artist Ben Giles about his work, the progress he’s making while studying, where he finds inspiration and his hopes for the future.
You’re currently studying Fine Art at Kingston University. When did you first start creating pieces of work? How has your style developed over time? I have always created work, whether for my own personal enjoyment or for what was needed at school or college. It was only around a year or two before university that I focused and developed a practice on my own terms. I started exploring collage as an accompaniment to a series of video pieces I had been working on, the collage developed more and became a stronger body of work. I believe that I have developed a noticeable style over the last couple of years, even though I love experimenting and trying new things out with the medium. I love that people can look at my collage pieces and recognise that it’s my work almost straight away. Colour and the presentation of my work is something that has become a defining feature with my collages. I never want to rest on my laurels though, I believe in experimentation and evolution and hope that my work develops more and more, whether collage or in completely different mediums. What skills has your course taught you and has it allowed you to progress? I wouldn’t necessarily say the course has taught me many new skills but it has certainly allowed me to progress. It has allowed me the time and space to work on artwork in a completely new and challenging environment. The Course isn’t particularly encouraging of my collage work but I’ve never truly created work for anyone other than myself. When I want to build 20 Atlas Magazine
a sculpture or try something more conceptual I do, regardless of pressures or grades and when I want to do a collage series I do. Next year I have some larger varied projects I’m going to work on and that I have collected for over the past two years. But I’ll continue to do whatever I feel I need and want to make at the time I choose to. Some months I’m completely inspired and it’s a compulsive process, other times it’s more idea and thought based, it takes longer to develop. Where did you grow up? I grew up in a market town called Bury St Edmunds in Suffolk. It’s a fairly average place set in the middle of beautiful surrounding countryside. Is there somewhere specific you find inspiration and how do you go about working on collaborations? I find inspiration in all things and often in nothing. It’s hard not to see a project and want to make something similar or think of an idea that is exciting and different, only to find something extremely similar by accident on the internet a few days later. There is so much to filter through on the internet, it’s both helpful and crippling. Television, film, music and literature are often subconsciously adding things to my influences. I try to stay away from other artists despite loving several. Collaborations can either come from an idea that I have or a certain technique or process I want to try out. Sometimes it comes from the other collaborator wanting to explore a theme or series. Often with photographers they take the
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photographs and leave it to me to go a bit mad. I’ve been working on some recent collaboration with Leanne Surfleet that are a little more collaborative in both the ideas and the process behind the photography and the collage. We work together on both. It’s great to be inspired from another artist and work to the rules that they have created for me, it’s both fun and a challenge at the same time. What has been your proudest moment to date in relation to your work? I’m not entirely sure, I really love the “All in my Head series” and just snowballing a project like that is extremely satisfying. I think I’ve always distanced myself away from success relating to my work. I’m delighted and happy that certain opportunities arise but I never let it get to me, I don’t want to create work based on that. Recently having my work on a billboard in Time Square was pretty cool, and meeting a couple of musicians I have worked for was great. The most warming was in Norwich for “Movement in Modernism” in which I created work during the even. My parents and some friends came along and it was great to see them and see them smiling and seeing me in my element. As well as seeing the audience coming up and being genuinely interested in what I was working on. What would be your ideal job once you’ve left University? My ideal job - I have no idea at the moment. I’d love it to have a relationship with art world, but it is so difficult to find somewhere, and someplace to call home, especially with the right qualifications. I’d love to carry on and maybe achieve some qualifications in tree surgery and horticulture work as a source of income, as I really enjoy it. If anyone has any jobs available, let me know! Or just become Bernard Black and work in a bookshop; I’d end up cutting all the books up! What technique do you use to create your collages and where do you source your imagery? Often I let the images I find influence the work or at least the foundation for me to build upon. If I try too
hard to fit a specific ideal in my head it can often become a little too convoluted and results in hitting a brick wall. I need a large lump of clay in order to sculpt. I love hunting for things to use in my work and I would say having an ability to find materials and knowing how to use them is definitely part of my technique. I haven’t used glue in my work for about two years as I find it too slow, messy and distracting. It just makes the process not enjoyable and frustrating. I find imagery everywhere but mostly in older books found in charity shops, second hand bookshops and car boot sales. I think most collage artists are a little suspicious about rights and using imagery but I just use what I feel fits in order to create, in my opinion a much better whole. Most of my work is created just while sitting on my bed, or its placed on my lap while watching a film or television show. Sometimes I have music just to break it up a little and I go through lots of water, caffeine and cigarettes. It’s a very meditative process, one that allows me to either completely clear my head of the things around me and enter a state of clarity while creating. It helps me think about things logically, the same way I would approach making the piece in front of me. This piece goes here, another here, this is what I’ll do, and this is how it all fits together. It is very much problem solving as it is pure creation. You mentioned that your course may want you to diversify, why is it important to you to follow your own style and needs as an artist? I think to change the way I work, for anyone, is wrong. It is important to adapt and evolve in my own time rather than force the current in a certain direction or style. I enjoy working lots of mediums and I experiment with them, often those experiments fail and I don’t feel the need to release it to the world. When I’m happy with another medium it’ll gain more speed and evolve much more into a stronger part of my practice. I diversify in terms of video, sculpture and installations and I have a couple of upcoming projects that are fairly distant from collage. I just feel it’s better to take my time rather than work just for my course, as it’s incredibly short sighted to work for a grade rather than a career. You can find Ben’s work at: www.flickr.com/ben_giles
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ENTWINED
PHOTOGRAPHER Daria Belikova STYLING Gera Skandal MODELS Lisa Kotova @ Cherie Models Nancy Shvab & Polina Severnaya @ President Models CLOTHING & ACCESSORIES IlonART
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The Do’s and Don’ts of Magazine Submission We’ve been working on Atlas for two years now and, during that time, we’ve received thousands upon thousands of submissions from creatives from around the world. We know how hard it is to get published–– we’re all photographers/ creatives ourselves! Hopefully this article will give you a bit of an idea of the “do’s and dont’s” of magazine submitting!
Do Write a short email to us. We don’t like getting blank emails with images attached… it feels like there is no heart and soul behind you. We’re real people behind these screens; we want to know that you are, too!
Don’t Write an essay, however. Keep it short and
Don’t Forget to read everything over before you click send–– especially if you’re sending a submission. You might want to be sure that you’ve actually attached the images to your email.
Do Photograph agency represented models. We
sweet. We don’t need a novel; we’re busy, just as you are!
know that your best friend is beautiful, she really is! But, there is a reason that model agencies exist. These people are good at their jobs.
Do Attach easy to open PDFs or images directly into
Don’t Use different sized fonts in your email. It
your email. There is nothing more annoying than having to spend ages trying to even see your images! Help us out.
Don’t Send the same email to ten thousand
magazines. If you do, be smart (or sneaky) about it. BCC them so that we at least can’t see that you have!
Do Read the submission guidelines before you
email asking to ‘know more’. If you send an email about an obvious question, we really start to wonder if you’ve been doing your research.
Don’t Submit on Facebook. It will get ignored. Do Stick to the theme! Don’t Send work that is completely beyond the
aesthetic of the magazine. Make sure you’ve checked out previous issues and have an idea of the mood.
Do Make sure that if exclusivity is involved,
you stick to it. There is nothing worse for your reputation than to submit to two magazines that have exclusivity agreements and hope they won’t see. We find it. We always find it.
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makes it look like you’re copy pasting and adding in… which doesn’t look too good.
Do Send us something exciting and different! Try to think outside the box.
Don’t Use one outfit. We’re a fashion magazine
and we want to see lots of it! Try and use at least four outfits during shoots–– options are important. This will create versatility and more of a story in your photographs.
Do Find a good hair stylist to work with your
model’s luscious locks. Hair is as important as the clothes. There is nothing worse than messy hair.
Don’t Be afraid to ask about something if you’re really not sure! We’re friendly and happy to help whenever we can. Want some advice on your submission before you send it to us officially? We’ll happily take a look at it and let you know our initial thoughts!
We could probably go on for hours and there sadly isn’t one perfect technique. It’s all about hard work and dedication. If you don’t get selected the first time around, keep at it! We love seeing how everyone improves and we really wish we could publish everyone. Happy creating!
Written by Olivia Bossert
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TRAVELLER CHIC PHOTOGRAPHER Narita Savoor STYLING Danielle O’Brien & Connie July MODEL Vera @ Nemesis Model Management CLOTHING DESIGNER Alex Wilbraham HAIR & MAKE UP Stephanie Swain
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SKIRT Alex Willbraham JUMPER H&M NECKLACE NEWLOOK SHOES ASOS
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SHIRT & SOCKS Alex Willbraham SKIRT Topshop NECKLACE NEWLOOK SHOES ASOS
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TOP Primark DRESS Alex Willbraham JUMPER Vintage
SHIRT Alex Willbraham SKIRT Miss Selfridge NECKLACE Primark SHOES H&M
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TOP Primark DRESS Alex Willbraham
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PLACID PHOTOGRAPHER Janina Alff STYLING Faustyna Klabun MODEL Iryna @ MUGA Models HAIR & MAKE UP Julia Junglas
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BLAZER Hugo Boss COLLAR COS DRESS Marni SWEATER Closed
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COLLAR COS DRESS COS
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SHIRT Stella McCartney SKIRT COS SHOES Zara SOCKS Falke
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SWEATER Faustyna Klabun SHIRT Alexander Wang SKIRT Cacharel SHOES Dr. Martens SOCKS Falke
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LEATHER JACKET Closed SHIRT Acne Studios TROUSERS H & M
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COAT Faustyna Klabun SWEATER Closed SHOES Dr. Martens SOCKS Wolford
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SWEATER Faustyna Klabun SHIRT Alexander Wang
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COLLAR COS DRESS COS SOCKS Wolford SHOES Bebo
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COLLAR COS DRESS Marni SWEATER Closed SHOES Dr. Martens SOCKS Falke
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Straight
to the point
Clean lines, sharp edges and perfect precision made for a refined resort season that gave a new type of success to the middle man in fashion.
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For the Resort 2015 collections, designers put their methods into making and used the basic building blocks to form a sleek and understandable wardrobe for their customers. The simplicity was met with intelligence and precision, easy to read clothes that still had fashion’s forehand pushing them forward–– a meeting of minds for both the methodical women and the fashionable thinker. In New York, powerful cuts met new classics in London, whilst Milan’s clean casuals travelled to Paris to greet streamlined corals. Joseph Altuzarra is flying high following his recent CFDA win and his Fall 2014 collection in New York; a home run for the designer taking his global/Americanized brand to new levels. For Resort, his customer was still international and this time you saw the Altuzarra girl go overseas–– her wardrobe even reflected the go-between from land to sea. Nautical navy blue and red button-up neck pea-coats and tailored trousers in dark moon blue saw the start of a classic and polished American look, turn to the black peasant blouse dresses in chiffon and crepe jersey and you could see the London Chelsea girl mixing well with the label. The slit skirts and evening numbers that were diced and sliced just under the bust carried the confident and convincing voice from his previous Fall 2012 collection. This time they were straightforward and direct. It possessed Parisian personality with just an undertone of the seductive Milanese dialect. The silk fringed combinations felt like something new and put this collection in a spin, taking it back to a familiar Altuzarra look. Tuck one of those crisp white shirts into the tailored chain skirts and you’ll cut all the right corners. Christopher Bailey’s Resort collection for Burberry Prorsum was a continuation of the many successes that the brand has had under Bailey’s trend trail blaze these past few seasons. The temptation of transparency played a huge role; lace and leather, simple tees and long lean shapes all round up to reinforce this new recognizable look of a Bailey/Burberry girl. The flawless fish scale A-line skirts sculpted the body. The same went for the graphic and fringed ones, like second skins they sat invisibly aligned with the satirical ‘come rain or shine’ tees that folded in neatly. True to Bailey’s innovative heart there were new additions for Resort. The lace looks that were dip-dyed at the hem made the biggest visual impact. Navy vertical stripes looked digitally printed as a result of their laser cut precision; the layers of transparency in between each stripe were last season’s voice carrying through. The apple that appeared once or twice on a tee or somewhere on a trench coat proved that Bailey is really trying to get to the core of the new needs of his customers. Where Bailey’s relationship with innovation is concerned, as they always say–– the apple never falls far from the tree.
Written by William Evans Illustrated by Antoinette Holmes
Frida Giannini’s shaggy shapes and paired down pastels from Fall 2014 took a back seat for Gucci’s resort collection; instead the focus was on cut and form. That’s not to say that the powdery pastels were wiped out completely, just that they were offered in more toned down proportions and displayed in a more day-to day believable sense. A blush blue knee length pea coat and a beach blue nautical striped sailor’s jumper were pieces you could easily see next to the macaroon mint green and hush yellow shirtdresses. The Resort references were most obvious in the mini short-shorts or the nautical sailing jumpers. They remained irresistible, still. In order to ground the collection back to Gucci’s roots, add in a pair of those python boots or a cropped snakeskin jacket and that will help slice through the floral print in one straight line, judging by the power of these pastels you won’t need to resort to that. Alber Elbaz mastered modern minimalism for his resort collection for Lanvin; the subtle suggestions of a different direction came in lustrous new colours and powerful new shapes. As usual with Lanvin, the tailoring was impeccable, the impact of a tangerine softly tailored jacket and a sleek sleeveless black look with slouchy silk trousers put forward the best argument. The black was well balanced and portioned into mini evening dresses and pin-sharp cigarette pants in charcoal and slate. Although the pleated silk and lace floor-length looks will make their way onto Emma Stone’s and Olivia Palermo’s backs, it will be the colour-striped-block cocktail dresses that will make their way into the wardrobes of Lanvin’s loyal customers. So look at this Resort season for what it really has to offer, a plentiful palette of pastels and enough nautical stripes to set sail. So what’s left to say? All aboard, sailors! 61
SKYSCRAPER PHOTOGRAPHER Kyle Galvin STYLING Ginevra Menon MODEL Lydia Hemmington @ Models 1 HAIR Rebecca Amoroso @ Salako London MAKE UP Virginia Bertolani
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COAT Monki DRESS Lavish Alice
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VISOR Stylists own
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DRESS Alexander Wang
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LEGGINGS Rein by Rebecca Morter DRESS AQ AQ
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DRESS & COAT Rein by Rebecca Morter
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BLAZER Zara DRESS Topshop BAG Prada
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TOP Alexander Wang SKIRT Alexander Wang
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COAT Rein by Rebecca Morter SKIRT DKNY
BLAZER Zara
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ECOnceptual
PHOTOGRAPHER Yoan Galabov FASHION DESIGNER Maya Mateva MODEL Aleksandria @ Ivet Fashion Model Agency 72 Atlas Magazine
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ARCHITECTONIC PHOTOGRAPHER Gita Buga STYLING Dea Frauchiger STYLIST ASSISTANT Maysa Nogueira MODEL Antonina Kozerosvkaya HAIR Delphine Bonnet MAKE UP Carlotta Nuti 80 Atlas Magazine
Previous Page DRESS River Island SHOES Zara BRACELET Stylists Own This page DRESS Topshop NECKLACE River Island
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SKIRT ASOS TOP Topshop
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SKIRT ASOS TOP Zara NECKLACE H&M
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JACKET Zara SKIRT Topshop BAG Topshop SHOES River Island
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JACKET Zara
Creative Freedom in Fashion
Designers were excited about technology, it didn’t need convincing. The most surprising thing was the speed in which the internet was adopted and how quickly you could be left in the dark if you didn’t follow. The problem was that accessibility for the masses wasn’t designed in a beautiful way. Designers wanted to protect the brand, brand values, and the feeling of luxury. Now, runways are less concerned about who attends the shows, and more concerned with the type of coverage generated by those present. Runways that now go beyond walking down a straight white Runway have the ability to leave a lasting impression, by defying expectations and convention. These shows create a framework for collections and help consumers to understand and interpret the works of the designers. It comes down to knowing what your audience is and what you can offer that is different. Live streaming and online photo galleries showing every angle of every garment are all about the end user, it’s about creating an experience, mesmerizing with a performance that will be discussed and evoked by millions. Fashion week has opened up fashion to the global consumer, which has created a popular culture around the world. The world is sharing this revolution of fashion, feeding appetites of creatives that might not have ever had the opportunity before. Creativity exists across the planet; each part of the world has found its own voice which cannot be compared with other fashion weeks, as they obtain a different purpose. London fashion week has become as successful as it has, as new generations have become very open to learning about fashion business and going slowly in the
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industry: step by step. Fashion relies on new talents and fresh ideas. Students coming out of university have the opportunity to show their work, which creates stepping stones and encouragement. Their dreams can then one day become reality. The more fashion is shared online, the more stimulating it becomes. The more brands allow creatives into their story, the more exciting the industry becomes: the more opportunities there are for creatives around the world. Fashion brings interesting people together and when you bring people together, it makes something exciting. There are benefits for a more creative relationship within the fashion world. Just like the link between the ins and outs of fashion that the internet can reflect, the creative freedom involved in working with the fashion industry has made the relationships desirable. The recurring seasons provide consistent opportunities for reinvention: fashion has become a creative playground. With the advance in technology, visual communication has become more sophisticated that reaches beyond traditional printed matter into brand management and digital media. The fashion crowd is hard to please. Taste, style, relevance and what is interesting is discerning. Working
Written by Jessica S Bailey
in this industry depends on a personal opinion and too many people are trying to push their opinions into focus. Yet, the most inspiring and exciting work belongs to this field. Designers now need a broader perception to their brand, with visual communication needed to be completely integrated with their collections. Fashion is more than an item of clothing; they need to reflect what the label is offering beyond purchase, the whole story. Due to the internet, there is a new relationship between designers and fashion labels. There is an intimate relationship between a collaboration of minds.
“Fashion is not something that exists in
dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening”. Coco Chanel. You can say that a computer is just a tool to the means to an end, but then you can say that about a camera for photography. Yet, photography has done so much for fashion. With the means of a computer, photography opens to a new world of collaborations. The internet provides endless inspiration: artists, bloggers and designers are forming their own friendship networks worldwide: they are constantly communicating with each other which create an influencing aesthetic. Placements, internships, jobs, agencies, advertisement and retail all benefit from these collaborations. Photographers, designers, creatives, models and consumers are all given a voice.
“The life of a designer is a life of fight. Fight
against the ugliness. Just like a doctor fights against disease. For us, the visual disease is what we have around, and what we try to do is cure it somehow with design”. Massimo Vignelli If you want your voice to be heard, you have to understand how to highlight a collection. At the heart of fashion identity is still the clothing, no matter how much the internet changes this industry. Creatives’ decisions
should form around the designer’s voice, the weave, the materials and the cut of a collection. The details speak for the garment. Editorials, look books, packaging, creative teams, directors etc. are always changing, and so are the garments. It is the brand, and its associated values, that stay consistent. By analyzing a designer’s mass of information, the label can be distilled into a set of communication principles. These principles must be reduced to its simplest form. These elements can make a loud statement, such as Vivianne Westwood or a minimalistic feel, such as Gill Sander. Stripping back doesn’t mean boring; it’s about making your message clear. High fashion can be composed from the smallest details, beautifully composed elements which create an underestimated value. The high street and online retailers are a contrast to this design. These retailers have evolved through the internet. These labels bombard you with information. This demonstrates their commerciality, but it lowers the value of the brand. This communication creates a demand for attention which gives opportunities for starting up creatives to get their foot in the door. No one starts as a Creative director for high fashion. The high street is still important to the world of fashion. It is important that creatives realize they have the opportunity to change how we perceive them. Wearing high street labels doesn’t say you don’t know fashion, it’s about how you make the most of what you’ve got: branding yourself with your own ideas of what you want to represent yourself as. My wardrobe consists of Zara. I believe in creating work that has a strong concept, yet is stripped back to be portrayed in its unique simplistic form. So that is how I dress. That is how people perceive me. Don’t design to please everyone or create work that doesn’t represent you. With inspirational sites such as Pinterest, we feel the need to make work that is trending, but that isn’t what fashion is about. Don’t be afraid to fail, that’s when you can be your most creative. All that is required is that you have an eye for detail and a passion for the industry. Don’t think of the internet as the death to fashion, but think of it as an opportunity. If fashion didn’t evolve, you wouldn’t be reading this article, in a magazine that wants the creatives of tomorrow to have a voice.
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PHOTOGRAPHER Manuela Iodice STYLIST Cristina Landi MODEL Jemma @ 2moorow HAIR & MAKE UP Sabina Pinsone
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SHE PUTS THE WEIGHTS INTO MY LITTLE HEART
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Previous Page COAT Imissw SOCKS Calzedonia SHOES The Oz RING Iosselliani This Page COAT Daizy Shely JUMPSUIT Stylists own BRACELET Iosselliani
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MAXI CULOTTES Blackblessed JUMPER Aroma30 SOCKS Calzedonia SHOES The Oz RINGS Iosselliani
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JUMPSUIT Stylists own JACKET Trou Aux Biches SOCKS & SLIPPERS Adidas NECKLACE Iosselliani
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BLANK PHOTOGRAPHER Yuki Saito STYLIST Join Chantisa MODEL Hildie Gifstad @ Fusion Models HAIR Ami Chibana MAKE UP SIM
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JACKET Conscious TROUSERS Conscious SHOES Ninewest
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JACKET Calvin Klein TOP Tahari
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CUTOUT PHOTOGRAPHERS Andreia & Nathalia Takeuchi MODEL Natalia Heinzen @ Ford Models Brasil STYLING & SET DESIGN Paula Franchi SET DESIGN ASSISTANT Claudia Pinz HAIR & MAKE UP Jean Michel Battirola CLOTHING Cycleland SHOES Topshop
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TOM SELMON “Makeup is actually not a big deal; it is just stuff you put on your face.”
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Do you have a muse?
A recent graduate from Falmouth University, Tom Selmon answers a few of Atlas’ burning questions. Let yourself be engrossed by his powerful and moving work. Tell us a bit about yourself. I grew up in Enfield, North London; not the most glamorous place, I have always had London at my fingertips so I can’t complain. I began photography when I was in year thirteen. My friend asked me to model for her A-Level project. She asked me to style it as well and I thought, ‘I can do this!’ Originally I wanted to do film, but I felt like I would be better at photography, so I got a camera and started doing shoots. I then applied to a foundation year in Brighton which led me to Falmouth. What is your process during a photo shoot? I usually get there an hour before the models to start setting up, then have a chat with the models whilst I do their makeup. Eventually I will have a makeup artist, but I feel that the one-on-one time was a good way of breaking the ice, so who knows–– maybe I will keep doing it! How do you convince men to let you put make up on them? I just ask. I have only had models refuse a couple of times. Most of the time the guys I am asking are comfortable enough with themselves to realize that putting on makeup is actually not a big deal; it is just stuff you put on your face. Are you trying to put a particular message out with your photography? Lately I am trying to put a message across of the ‘all inclusive’ time we live in. I am now looking at putting all types of people together on the gender spectrum and making the image about beauty, not shock value.
There is one boy named Dino Rovaretti who I loved working with when I was at Falmouth. His face was insane; so elegant. Now it will be harder for us to shoot but I will always remember him and not let him slip away. There seems to be a widening acceptance of the drag culture now, do you find that to be true? Yes, and it is because of the show Rupaul’s Drag Race, which I think is one of the best shows to ever be made. Full of so much talent and beauty. One image we adore is your self portrait; what was the idea behind that image? I originally went into the studio with the idea that I could do a self portrait in which I looked like a 90’s supermodel. So I tried to do my makeup in more of a feminine way and I had this image that I could make myself look like Linda Evangelista. I was sadly mistaken! I realize in order to feminize my face I need a lot of makeup. I decided to do more of a boy makeup self portrait and that was the result. Do you think you’ll do more self portraits in the future? I realize I haven’t done one for a while so maybe I will do one soon. You have just completed your degree in Fashion Photography. What is next for you? I just want to get a job and then on the side keep photographing the drag scene, adding to my “Cranking Up Beauty” series.
Where can people find you, and how can they get in touch? You can go to my website: www. tomselmon.com or my Instagram @ tomselmon
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TOP & SHORTS Narciss CARDIGAN & BELT Utha SKI GOGGLES Stylists own
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PHOTOGRAPHER Julia Prohorenkova STYLIST Jekaterina Mirmanova MODEL Alina Sivicka @ Vacatio HAIR & MAKE UP Kristina Savich
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CUTTING EDGE PHOTOGRAPHER Julin Athalia Lee STYLING Kim Brooks MODEL Emilie E @ TCM Models HAIR Jaaron Miller MAKE UP Cris Pompa
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HEAD PIECE Metro DRESS Central Costume Collective and Performance
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SKIRT & TOP Ali Vradenburg
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THE BRISK ISSUE SUBMISSIONS DUE SEPTEMBER 30TH COMING DECEMBER 2014
The first print and e-reader issue of atlas magazine Read our submission guidelines at theatlasmagazine.com Submit your work to info@theatlasmagazine.com 146 Atlas Magazine
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