Atlas Magazine | Autumn 2017 | The Fearless Issue

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Emanuel Ungaro pants; Saint Laurent shoes

Photographer: Atarah Atkinson

Contributors Akosua Adoma Owusu Anna-Lena Krause Anne Peeters Atarah Atkinson Barbora Kmeลฅkovรก Caren Detje Carey Macarthur

David Hajoo Choi Fidel Garcia-Reichman Gurgen Aloian Hannah Gur-Arie Jason Sadourian Jessica Hume Kai Avent-deLeon

Karol Pryk Lara Callahan Lucas Christiansen Mandi K. Smith Meike Kenn Megan Breukelman Natalie Hage

Olivia Jane Huffman Otto Masters Philip Garber Ryan Mccoy Sona Vidiecanova Tyrell Waiters Vincenzo Traettino

Table of Contents 010. 018. 024. 030. 034. 042. 050. 056. 062. 064. 070. 076. 080. 088. 092. 100. 102. 108. 112. 118. 124.


Wave Forms by Lara Callahan Fidel Garcia-Reichman Fight the Power by Jason Sadourian Interview with Akosua Adoma Owusu Dreaming of Autumn by Anne Peeters Lovely Girl by Caren Detje Remember Me by Karol Pryk A Touch of Light by Lucas Christiansen Better than Them? by Philip Garber Intensity by Otto Masters Red, Red, Red by Ryan McCoy Sincerely, Tommy: Kai Avent-deLeon Burning Fearless by Atarah Atkinson CrĂŠeme: Sona on Sustainability Turning Back by Anna-Lena Krause Non-Binary Gender by Olivia Jane Huffman Extra by Vincenzo Traettino Plus Size: Fashion and Fearlessness by Natalie Hage Photosynthesis by Meike Kenn Transitions by David Hajoo Choi Renaissance by Mandi K. Smith






earless is a word that has embodied so many of our wonderful readers and contributors in the last few months, and especially in the last few weeks. The theme of this issue has taken on a whole new meaning from the time it was conceptualized. Making your voices heard and stories known has given a whole new meaning to what fearless truly means. I see fearlessness in the aftermath of the hurricane. In the protestors of violent hate groups. In the resignation of a job for the sake of your morals. In standing up. In standing for. In standing with. I see it fearlessness in every day life. In small business owners. In trend-defying wardrobes. In models, artists, bloggers, creatives. In standing up. In standing for. In standing with. I see fearlessness in my best friends. In strangers I follow online. In the people who are not afraid to educate, to speak up, to be patient. In standing up. In standing for. In standing with. Look around you. It is everywhere. Now more than ever is a time to be fearless. To speak up for what you know is right. To amplify the voices of those who don't get heard. Listen to those who are trying to educate. Learn from the experiences of others. That's why this note stops here. This issue isn't about the magazine being fearless –– it's about the embodiment of fearlessness through the art, the words, the experiences of others.

With love, Megan


Rodebjer shirt dress



Wave Forms

Photographer: Lara Callahan Stylist: Harry Kim Model: Mira Lenko @ VNY Makeup: Tara Pagliara Hair: Wade Lee


CG top + skirt; Alina Liu dress 012

Alina Liu top + dress


CG top; Alina Liu dress 014

A DĂŠtacher top; 6397 denim pants; Tibi coat


Tibi shirt; DAMA dress


Samuji coat

017 Rodebjer shirt dress + denim skirt


Wave Forms

Photographer: Fidel Garcia-Reichman Stylist: Katie James Models: Brynn @ Red Models Aicha @ Red Models Makeup & Hair: Tuong-Vi Giang using Kjaer Weis Art Director: Katy Smail @ Kate Ryan Inc.


LEFT IMAGE: Alexander Wang dress; COS shoes; Jacket is vintage RIGHT IMAGE: Champion sweatshirt; Reebok pants; Jacket is vintage 019

I Waited For You dress; & Other Stories shirt


Thii suit; Reebok shirt; COS shoes; Adidas dress; Mr. Larkin dress; Reebok shoes


Champion sweatshirt; J Papa pants; Reebok shoes


LEFT IMAGE: Champion sweatshirt; J Papa pants; Reebok shoes BOTTOM IMAGE: Mr. Larkin suit; Adidas shirt; I Waited For You dress; & Other Stories shirt TOP IMAGE: Mr. Larkin suit; Adidas shirt 023

LEFT IMAGE: Alexander Wang neoprene jumper RIGHT IMAGE: Charli Cohen crop top; Versace leggings; Nike trainers



Fight the Power

Photographer: Jason Sadourian @ Sarah Kaye Stylist: Sarah Louise Andrews Model: Aaliyah Hydes @ First Model Management Makeup & Hair: Joanna Bernacka-Pettit @ S:Management Special Thanks to Mickey Cunningham @ MBOX Forest Gate


Calvin Klein dress; Charli Cohen crop top; Reebok leggings


The Upside printed bodysuit + leggings; Adidas sliders


Alexander Wang dress


Puma crop top + leggings; Adidas x Stella McCartney mesh jacket; Adidas sliders


Makeup: Nicole Rivera Hair: Tabeel of Tabeel Aromatheraphy Gifts & Salon Tops: Chromat




Atlas Magazine had the opportunity to chat with filmmaker and producer, Akosua Adoma Owusu of Obibini Pictures LLC. about her experiences and challenges in the industry, her creative process, and the concept of ‘triple consciousness’. Watch for her latest film ‘On Monday of Last Week’, based on a short story written by feminist author Chimamanda Ngozi Adichie.


orn and raised in the immigrant community of Alexandria, Virginia, Akosua Adoma Owusu is a filmmaker and producer dividing her time between New York and Ghana. Her parents and older siblings are from the Ashanti Region of Kumawo in Ghana, and Owusu is the only one in her family that is American-born.

Although filmmaking was not the path that was originally intended, Adoma has made a name for herself through her narrative avant-garde work in film. With such notable pieces as Me Broni Ba (2009), Kwaku Ananse (2013), and Reluctantly Queer (2016), it’s hard to believe that Owusu’s stories have not always been told through film. “I’m originally a printmaker and fine artist. I planned to study medicine, but I took some cinematography classes with filmmaker Kevin Jerome Everson during my undergraduate studies at the University of Virginia. Kevin was always so positive about art making–– his classes really taught me how to be a self-reliant filmmaker.” Through such a formative artistic experience, her work as a filmmaker blossomed. “From him, I also learned how to work with limited resources; I shoot with analog Super-8 and 16mm, and re-work and re-stage archival footage. Lately, I’ve shifted my focus to shooting in a more fictional narrative direction.”

WHAT MOVES YOU TO CREATE? “I’m definitely a go-getter. Talking to friends in the industry, especially Kevin, inspires me to create. He’s a significant influence–– he’s so prolific and always working–– and he’s really helped mold me to be the filmmaker that I am today. I’m constantly reminded to enjoy the creative process, instead of taking things too seriously. There is no time to waste complaining about how the industry is unfair and limited/limiting; I have to keep making art! I love working with close friends in Ghana, Virginia or New York, the places that I call home. It does take me awhile to get motivated enough to create something, but when I finally get into my element, it’s magical, and everything just flows!” Owusu has coined the phrase ‘triple consciousness’, a term developed as she was growing into her identity. It is an extension of sociologist W.E.B. DuBois’ original notion of ‘double consciousness’, accounting for the experience of black Americans negotiating a sense of selfhood in the face of discrimination. She is deeply inspired by DuBois’ work and his strong connection to Ghana. So what is triple consciousness? “It is an all inclusive cinematic space, a space where certain aspects of culture diverge and converge. So, this remixing of culture in my films are manifestations of triple consciousness. It’s been important to me to bridge gaps and create spaces, where women, immigrants, and people who identify as queer and mixed can see and find themselves.” 031

CAN YOU TELL US ABOUT YOUR EXPERIENCE AS A BLACK FEMALE IN THE ART WORLD AND FILMMAKING INDUSTRY? “Navigating both the art and film industries, I have learned how to chart my own path with perseverance and grace. As a black, female filmmaker, I have found that I have to allow myself to be open to discovering an authentic filmmaking style that will allow me to achieve my goals. Early on in my art career, I lived in Ghana to connect with my roots, and this was a defining moment for me to start using blackness and identity as a focal point for my creative process, which is in a constant state of evolution. I started making films in Ghana as a way to inspire creatives in both Ghana and America to preserve our cultural traditions. I work from a personal space, which creates depth in my work. I hope that by telling stories that are multidimensional Navigating both and fresh, I can somehow complicate conventional notions film industries, I of what black identity is.”

the art and have learned how to chart my own path with perseverance and grace.

Although blackness and femaleness are focal points, Owusu’s films are not just about being black or being female. “Sometimes, the personal can be political, and my films are about me, my life and subjects that are important to me at a specific moment in time. Shooting with analog film plays on history and memory. There is a childlike rendering to the subject matter I draw inspiration from because I believe that when you present something serious in a childlike way, people can easily digest the material. I also believe that audiences are smart; they get it.”

WHAT ARE SOME CHALLENGES YOU HAVE FACED IN YOUR CAREER? “Some of the challenges I have faced is having people take my kindness for weakness and taking advantage of me, my space, and my creative process. My films come from a personal space and I don’t make films for hype; there have been collaborators who have had bad intentions. This actually affected my mental health, but also my spiritual and emotional wellbeing. It’s tough to let go of the past and trust people again. With that said, I’m working on being a more effective communicator and being honest with my feelings when collaborations turn sour. As I’m coming into my own, this new trajectory has made me reevaluate my creative process, and I have learned not to internalize toxic professional relationships.” Owusu says that when it comes to the filmmaking industry, she’d like to see more acknowledgement for filmmakers work. Though she has been well-received in numerous notable exhibitions in galleries and museums, she finds that artists from other disciplines get more visibility and celebrity endorsements. “It’s a subtle form of psychological oppression for video artists and filmmakers, and I want to see the art world be more inclusive of us, instead of treating us like sideshows in art exhibitions.” The trend of celebrities borrowing from art culture is quickly gaining momentum, and Adoma is voicing a need for attention to be paid to the filmmakers and artists who are doing it first. “Filmmakers have something to say, and our voices deserve to be authentically heard.” What’s next for Akosua Adoma Owusu? In addition to her upcoming release of ‘On Monday of Last Week’, Owusu is working on a feature screenplay with a script consultant called ‘Black Sunshine’. “I’m learning how to balance work and life and live more in the moment. I recently enrolled in hip hop dance classes in the city, as I’m trying to get back into shape.” Her advice to up-and-coming artists is to “learn how to be your own hype man and stay focused. Keep following your creative path and never lose sight of your dreams.” Thank you, Adoma, for taking the time to chat about your thriving career. Follow along and get inspired with Obibini Pictures LLC on Vimeo.


Ted Baker shirt + dress


LEFT IMAGE: Maurie & Eve top; Keepsake dress RIGHT IMAGE: MINKPINK top; Faithfull the Brand dress



Dreaming of Autumn Photographer: Anne Peeters Stylist: Cassandra Chloe Model: Billy @ IMG Models Makeup: Linda Lubrin Hair: Wataru Suzuki Stylist Assistant: Laura Moss


Trenery jacket; Veronika Maine top


Country Road top; Viktoria + Woods dress



Annie Hamilton scarf; C/MEO COLLECTIVE jacket; David Lawrence accessories 039

LEFT IMAGE: Annie Hamilton top + bottom RIGHT IMAGE: MLM dress; Annie Hamilton shirt



LEFT IMAGE: Maison Suneve dress; Marlies Dekkers waspie; Wolford shirt; Eres panty; FOGAL garter RIGHT IMAGE: Aubade corsage; Weekday panty; SCHIESSER top



Lovely Girl Photographer: Caren Detje Stylist: Lisa Maria Lohmann Models: Johanna Milde @ Model Management Sophie Beholz @ Model Management Makeup & Hair: Evelyn Innerhofer @ Bigoudi using Davines



BOTTOM IMAGE: Baum und Pferdgarten jacket; Marie Jo bra + lace panty; Eres pink panty TOP IMAGE: Eres shirt; Weekday bra; Love Stories Intimates panty

Baum und Pferdgarten blouse; Eres white panty; Aubade black panty


Hausach jacket; Aubade waspie; Triumph panty; Marlies Dekkers corset; Aubade panty


Maison Suneve dress; Marlies Dekkers waspie



Hausach jacket; Aubade waspie; Triumph panty; Marlies Dekkers corset; Aubade panty



Remember Me Photographer: Karol Pryk Stylist: Simon Riepe Model: Nicole @ Aquamarine Model Management Makeup & Hair: Kira Sukow Stylist's Assistant: Kristina Hammerschmidt Production: Hendrik Simon


LEFT IMAGE: Christina Nolte blouse RIGHT IMAGE: Kristina HammerSchmidt top; Christina Nolte blouse


Duygu Demirbas top; Christina Nolte skirt


Christina Nolte pants; Dress is stylist's own


Christina Nolte dress; Top is stylist's own


Christina Nolte pants; Dress is stylist's own 055

LEFT IMAGE: Fomme top; PAWAKA shades RIGHT IMAGE: Ivanman knitted top



A Touch of Light

Photographer: Lucas Christiansen Stylist: Veronika Dorosheva Model: Ulfar @ VIVA Models Makeup: Melissa Righi Photo Assistant: Raul Suciu Production: AA-COLLECTED Jewellery: Mies Nobis


Blank Etiquette top; Ivanman jacket; PAWAKA shades


Ivanman top 059


LEFT IMAGES: Ivanman jacket RIGHT IMAGES: Ivanman knitted top




Philip Garber is a photographer and writer based in New York, focusing on documentary and journalism. Who were your friends in elementary school? There was Rebecca Martinez. She was in homeroom that first day in 3rd grade, you were both really scared. She gave you a Kit Kat for Valentine's Day that year, and of course you were absolutely smitten. You became close friends, and stayed that way until high school. Now she’s a first year medical student at Boston University. You wished her happy birthday on Facebook. Joshua Graham came into your life in your sophomore year of high school. You ate lunch together and talked about the teachers you hated, and the girls and boys you adored. He was a bright kid, and loved sports, and teambuilding. He enlisted in the Marines a week after graduation. He went overseas. You aren’t friends on Facebook. You assume you don’t agree politically. You went to art school. Maybe Rebecca and Josh were the last non-artists you knew. This wasn’t intentional…. Or at least totally intentional. Some of it was sheer distance. It’s a good four hours to Boston, and Josh is in Kabul. Your interests diverged. You got busy. A part of you even figured your concepts were too heady for Rebecca and Josh. You would voice this opinion late at night in your smokey, boozy Brooklyn apartment. It usually got a few laughs, and sad head-shakes about them. How many of us can count non-artists as our peers? Lord knows I have to call out myself. In what is arguably the capitol of the world, I only have friends from one field, one school. That’s pathetic, and artistically irresponsible. I’ve seen this isolation damage my work. I photograph mechanics, swimmers, my neighbors... But I do it like a goddamn scientist, looking into a pen. How many of us have a beer with our friends from the automotive shop, the hospital, or, God forbid, the NYU Stern School of Business? If we as artists wall ourselves off from the world, our work will suffer. It is not enough to go to the marches. To go to an anti-Trump march asserts your view, something quite doable from an Ivory Tower. To be engaged socially is to be well… Social. We all want to sound like we know what we’re talking about - so what’s with the isolation? If we continue to wall ourselves off from the world, to assume that we as artists hold a monopoly on meaning, we deserve all the mockery we get. One could argue that the social isolation of the artist is a microcosm of the rural-urban divide. In a world that is increasingly xenophobic, who better than the artist to break barriers? To make barrier-breaking art, an artist must first break the barriers for themselves. We can’t regard ourselves as separate. We aren’t zookeepers. We must admit our isolation. Most mind-bending, we must admit that art is not the alpha and the omega. It is a component. We cannot sneer at the financiers and the CEOs, the mechanics and nurses and engineers, the reservists, Marines, and the infantry. There is passion beyond art, and there are [many] people that are not artists. If we disassociate ourselves, we are elitists. Who are your friends? 062




Photographer: Otto Masters Stylist: Maria Clara Lima Model: Maritta @ Bookings Makeup: Asuka Fukuda Hair: Toshinari Kokubun Designer: Constance Blackaller







LEFT IMAGE: LivnĂŠ dress; Topshop necklace; Henrik Vibskov, The Future of Frances Watson pants RIGHT IMAGE: Henrik Vibskov, The Future of Frances Watson dress; Madewell shirt; House of Etiquette latex gloves 070


Red, Red, Red

Photographer: Ryan McCoy Stylist: Lea Krpan Model: Monacco @ Elmer Olsen Models Makeup & Hair: Delia Lupan @ Judy Inc.


David Dunkley Fine Millinery hat; House of Etiquette latex gloves; Meg Shops jumpsuit; Code Vitesse, Stylist Box shirt


Kendall + Kylie, Hudson's Bay shoes; Meg Shops pants; H&M tulle shirt; LivnĂŠ coat; Soko, Meg Shops earrings



LEFT IMAGE: Livné hat + sleeves; Club Monaco dress; Soko, Meg Shops necklace RIGHT IMAGE: House of Etiquette latex socks; Livné dress; MO&Co. Hudson's Bay jacket; Soko, Meg Shops bracelet





Kai Avent-deLeon was born and raised in the historical neighborhood of Bed-Stuy, Brooklyn. As a lifelong Brooklynite, Kai has watched her neighborhood change and become part of the change herself –– with a conscious mind and attitude at Sincerely, Tommy. Starting in retail at 16, Kai worked in Fort Greene at a store housing local designers. It was a hub for young creatives living in the neighborhood. “I felt really immersed in that culture and inspired by the conversations I was a part of, and things I was learning as a result of being in that environment at such a young age. That kind of sparked my interest in wanting to own my own space.” From there, she continued doing buying for smaller shops and working in retail settings to learn.


Kai continued to get inspired through travel and meeting young designers. From this, the concept of Sincerely, Tommy was born. “I came up with this concept of having a space that would house emerging brands–– and also, New York is the place where so many young artists come to be discovered, but it's so rare that you can actually go in a store and see their work in that space. That's where the concept was developed, [and] it's changed as my personal interests and passions have changed.” ST stocks a lot of products from different markets around the world. “That’s probably my favorite part of what we actually sell, because it gives you this representation of different cultures that I’ve been inspired by in the space.” The name Sincerely, Tommy pays homage to the avenue that Kai grew up on and the very same that the business is housed on, Tompkins Avenue. WHAT IS SINCERELY, TOMMY? “It's a community center, that’s what i’m calling it now. I use to call it a lifestyle shop and it certainly still is that, but we really take pride in being a space for the community, whether that's the relationships with the real native locals over the time we’ve been open, or just the young people that live in the neighborhood. We have such a versatile mix of customers that come in here. I think they really gravitate towards the space because of what we offer, beyond just the product–– the energy, too. I would say it's a community center.”


Sincerely, Tommy hosts a breadth of commodities, including coffee, art, literature and fashion. When asked about her curatorial approach to fashion, Kai shares that she doesn’t approach the pieces in ST as fashion. “I think the pieces or the brands that we carry are more interested in the story behind the line or the designer and how they work with the pieces they are creating. Right now we have one male designer who is local, but for the most part they're all women–– I’m just really interested in other female makers and a lot of them are doing it straight out of their studio or a small operation. I think it's more about the process that I’m looking at versus the final product.” HAVE YOU FACED ANY PARTICULAR CHALLENGES AS A WOMAN OF COLOR RUNNING HER OWN BUSINESS? “I would say there is certainly just a general stigma that I think all women of color in whatever industry or career they are in probably face, having a lot of stereotypes and expectations existing. There is an air of energy if I go into a showroom appointment or if someone finds out I own the space–– whatever it is, I sometimes can see that look of shock or energy that's like, ‘Oh you're a brown girl, and you’re young,’ so it's like those two factors at once play a role. But I feel like maybe it's just a symptom of being in this neighborhood too, [that] I don't face too much of that. It's just one of those things–– maybe I’m immune to it at this point.”

WHAT CAN NEW YORK TRANSPLANTS DO TO RESPECT THE HISTORY AND CULTURE OF THE NEIGHBORHOODS THEY MOVE INTO? “I think learning about the neighborhood is really important, even if it's as small as getting to know the people on your block. One thing I notice is that a lot of the transplants don't realize that Bed-Stuy specifically prides itself on being a community. People say hello to each other here; you may not get that if you're in other more fast-paced parts of Brooklyn, but it's one of those neighborhoods where I still see some of the people who babysat me as a toddler. It's a real neighborhood and there's some history here that makes it what it is, and that's really important to get to know. Other than that I would say, more for business owners, having that understanding of where you’re coming into and making sure you're creating a space where it's not just dead set on catering to the newcomers in the neighborhood, but having some part of it that can also allow natives to feel welcome in the store–– we struggled with that when we first opened. Be friendly, get to know where you're coming into and respect that, don't try to just take over in this overt way.” With Sincerely, Tommy being such a contemporary space in this historical neighborhood, Kai says that they’re still trying to figure it out. “We go out of our way to make sure that people on Monroe and Madison know who we are

and that we have a relationship so they come in and they hang out or we’ll go out and talk with them, so there isn't the same friction when we first opened.” She adds that they make sure people know they are not there to take over or try to push anyone out. “I have [the] advantage that my family has been here for generations, so I kind of understand the vibe that has already existed here. When people hear that I’m from the neighborhood it certainly puts them at ease. In terms of the product that we actually carry, I feel like the store side is certainly catering more to those young creatives who understand it, but our coffee counter was put here to welcome everyone into the space.” DO YOU HAVE ANY ADVICE FOR ASPIRING BUSINESSWOMEN? “Have a vision–– that was told to me when I was writing my business plan. I think having a vision, a very specific one, makes the process so much easier. [Rather than] saying ‘I want a store’ or ‘I want a clothing store’, know what kind of clothes, know who your customer is, where you want the space, the message you’re trying to deliver.”

Thank you, Kai, for chatting with Atlas! You can follow Sincerely, Tommy on Instagram @sincerelytommy_ to keep up with Kai’s latest adventures.


Paul Smith jacket



Burning Fearless

Photographer: Atarah Atkinson Stylist: Sadie Sapphire Model: Kelly Moreira @ Elite Model Management Makeup: Clara Rae Hair: Beth Shanefelter Manicurist: Tori H. Set Design: Kelsea Olivia


LEFT IMAGE: Mugler bra; Emanuel Ungaro pants; Jimmy Choo shoes; Gladys Tamez Millinery hat RIGHT IMAGES: Pari Desai knit dress; Dion Lee bra; Cosabella panty; Givenchy shoes



LEFT IMAGE: Jil Sander bra; Vince shirt RIGHT IMAGE: Paul Smith jacket; T, Alexander Wang bra; Asos skirt; Gucci shoes



Dion Lee silk bra; Diane von Furstenberg pants; Givenchy shoes; Gladys Tamez Millinery hat





Sustainable fashion designed Sona Vidiecanova gives Atlas Magazine the scoop on sustainable styles.

TELL US ABOUT YOURSELF. My name is Sona Vidiecanova and I studied fashion design, [with a] Bachelor's degree in the University of Westbohemia in Pilsen, [focusing on] construction and new technologies. Later I decided to study in the capital of Slovakia at the Academy of Fine Arts and Design in Bratislava. When I joined the new school, I started to create sustainable fashion. I created two bigger collections there. One of them is "fashion revolution" (you can see it at Atlas Magazine's Timeless Issue)! This year I graduated from a Master's degree program and my diploma collection is called "Integrity" which is featured now in Atlas too. I used organic dyeing and only used plant resources. The main goal was to show that sustainable fashion is fully wearable and modern.


WHAT IS CRÉEME? Cŕeeme is our sustainable local brand of women's lingerie and men's T-shirts. We have connected organic with useful, as cotton naturally grows in beige color, and also in businees dress code one is required to wear only beige coloring under the white shirt or blouse. We are focused on design where our customer can easily recycle our clothes after use. We only use organic certified materials and we separate the biological process with the technical one. HOW DID YOU COME TO START CRÉEME? The decision of opening the brand came when I met Katarina at AFAD in Bratislava. We have similar opinions and noticed that there isn’t any local organic lingerie without any artificial baleen bones in the Czech Republic and Slovakia. We also noticed that women are looking for something like this.

Designer: Sona Vidiecanova Makeup & Hair: Jana Kocisova Models: Miroslava D + Emma C @ Exit Model Management


HOW DOES RECYCLING CLOTHING WORK? In the diploma collection, I only used organic GOTS certified materials which I organically dyed. The goal is for the garment [to be worn] by generations. But once it serves its purpose, the components can be simply cut off and recycled, because I only use metal handstitching components. Underwear is used and washed more often, therefore it is essential for underwear to be washed in bio washing powder so that the clothing could be also biodegradable. We want to get back the metal brass components from people, so we can melt it at high temperatures and once again create a new shape of components, which we use once again on the underwear.


WHY IS SUSTAINABLE FASHION IMPORTANT TO YOU? Sustainability is essential to me, because it protects both the environment and humans (including workers in the production and also customer themself). WHAT GOALS DO YOU HAVE? The goal is to have a successful brand, where the circular economy works. Also–– to have a great creative and healthy team, where everybody respects each other, creating great design and marketing. Richard Branson once said "Start a business only if it will improve people's lives."

WHAT IS THE BEST PART ABOUT RUNNING A BRAND? I enjoy teamwork and lots of brainstorming. I like when each [member] of the team comes with a great idea to create one amazing whole (unit) from it.

WHAT ADVICE DO YOU HAVE FOR UP-AND-COMING DESIGNERS? When you feel its right, go for it, and never let be discouraged by anyone.

WHAT WOULD YOU LIKE TO SEE CHANGE IN THE INDUSTRY? In the fashion industry I would like to see more teamwork and less competition. More kindness and respect for workers than nature pollution and cruelty.

ANYTHING ELSE YOU'D LIKE TO ADD? Looking for partnerships in Europe–– we are still a smaller brand, but if you like the concept of créeme and you have a great sustainable idea and it fits in our philosophy, write us at




Turning Back

Photographer: Anna-Lena Krause Stylist: Donimik Humeres Models: Sam, Anton, Nico, Naomi, Lerato, Joshua, Jake, Gills, Emeli, Dominik Makeup + Hair: Nadja Jeberien Clothing: OIL by Olive










Olivia Jane is a New York based performance and visual artist, and co-founder + creative director of Susie Magazine, a publication aimed at amplifying women-identified and non-binary voices.

I always knew I was different. It may have been because I was raised aware of my Aunt being a lesbian. It also may have been that my mother encouraged me to be myself. It also could have been that my stepmother was terrified of Hot Topic. Lol. Whatever it was, whatever drive there was in me to embrace that “non-hetero lifestyle” is what propelled me into art and using creativity cathartically. I’ve done really great things, but I also have drank myself under the table from insecurities. I guess I was always uncomfortable with sex, I didn’t really realize that until recently. You know gender is a performance, right? I would mold my presentation based on the person I desired. One year I was goth, another I was preppy. We’ve all been there… well, most of us have. The indecisiveness of what to wear, “Who do I want to be tonight?” I’d think to myself as I sifted through mountains of my clothing. I wear skirts. I don’t wear make-up, well not really. I dress up fancy; In a gown or in a button-up. I just bought my first binder because #burnbras. But my favorite shirt is a butchy crop or that one glittery thing I got for $2.

Yesterday someone I work with apologized for using incorrect pronouns for the past six months. This is the second person I work with that realized I don’t identify as she. Sometimes I forget my own pronouns. “Hello, I’m trying to reach Olivia…” “... This is she” (dammit). Human error happens. We are only human, you know? The accidental misgendering is okay, for me. The PURPOSEFUL misgendering is WRONG. I am a human, you know? Like, I just want to be recognized and acknowledged. It really isn’t that hard to be respectful of someone’s identity. I thanked that person for asking about my pronouns. THANK YOU. Thank you, for seeing me and for hearing me.



LEFT IMAGE: Gucci shirt + shoes; Carhatt shorts; American Apparel socks; Cardigan is vintage RIGHT IMAGE: Look is stylist's own



Extra Photographer: Vincenzo Traettino Stylist: Marco Pilone Poli Model: Vincenzo D’Ambrosio Makeup: Federico Terni


H&M pants; Shirt is stylist's own


Gattinoni jeans; Jacket is vintage; Shirt is stylist's own



LEFT IMAGE: Total look is stylist's own RIGHT IMAGE: Gianni Versace Vintage shirt; April 77 jeans





Natalie Hage is a model and influencer based in Texas. With a large social following in tow, Natalie continually steps up as a fearless voice for body positivity.


uch like the rest of society, the fashion industry isn’t kind to plus size people. Whether it’s the purposeful omission of sizes beyond 12, the lack of representation in media, or the blatant way the diet industry keeps you in a constant state of yearning to be something you're not… it’s overwhelming. It’s overwhelming that there’s a multibillion dollar industry that runs full steam ahead without intending to pick you up on its journey. Over half of adult women in the United States hover around a size 16-18. That being said…why do we only have a handful of places to shop? Even further, if there is any clothing for us to choose from, why are we usually confined to a rack or two that is shoved in the back corner of a store? Being shoved in the dark, dingy back corner is a metaphor plus size people are all too familiar with when it comes to fashion in general. You feel forgotten about, overlooked, outcasted, and to be honest? It’s on purpose. We’ve heard every excuse in the book. “There isn’t a demand for plus size clothing.” Over half of the population would like to be clothed, so thats debunked. “Plus size women don’t spend as much money as their straight size counterparts.” Plus size women are spending billions each year on clothing (over $20 billion in 2016 alone) with a trend that shows a multi-billion dollar increase year over year. So, that’s also debunked. So many designers make excuses instead of making a change. There are many of them, especially in high end and couture that make it very clear that there is never any intention of including plus size bodies in their repertoire. Why? 109

since. I am so lucky to have been around to watch the online boom of body positivity since its early days. I’ve seen the style evolution of so many persevering people who also craved to be seen and heard. We created our own community as a space for radical self love and fashion hive mind. I don’t know what I would have done without these people. It’s really bizarre watching television shows and movies filled with countless characters and none of them look like you. Growing up, I never had anyone follow in the media that I could align with. If there was a rare plus sized character, they were either evil (think Ursula) or the laughing stock of the show (think Natalie from The Facts of Life). You didn’t see plus size people in powerful jobs or falling in love or ‘getting the guy’. I would have given anything to see someone like me on television or a movie screen. I think it would have made my teenage years not feel so alone and lost. I still to this day strive to be the person I needed when I was younger. About five years ago, I still couldn’t find that strong, fearless, unapologetic, plus size woman anywhere I looked… so I became her myself. I started documenting my outfits, sharing tips and tricks to ‘fat hack’ clothing, and recording parts of my life to share with others. My online presence took off on its own and it's never stopped


Insecurity and self-doubt knows no dress size and it’s not only plus size people that experience these feelings. Though, the world sets plus size people up to have to work harder to find our self-worth. I really hope that whoever you are, plus size or not, remember that no matter what the state of the fashion or beauty industry is, you are good enough the way you are and you deserve to feel confident in whatever you choose to wear. Life is short–– wear the dress, put on the cropped top, wear the bathing suit at the beach, buy the shoes, and never stop being exactly you. You are unrepeatable. Make it count.




Photographer: Meike Kenn Stylist:Clementine Pohl Model: Naima @ M4 Models, Maria Abraham Makeup & Hair: Steffi Schneider


LEFT IMAGE: Frisur shirt; Icon Artists backpack; Cap is stylist's own RIGHT IMAGE: Frisur cardigan + skirt; Adddress shoes 113

Adddress coat; Skirt is stylist's own 114

Adddress dress; Cap is stylist's own


Frisur body suit


Adddress skirt + shoes


LEFT IMAGE: Alcer top; Nicole Miller pants RIGHT IMAGE: Eva Franco silk blouse; Anna Rosa Moschouti double loop necklace; Prada sunglasses + pionnière bag



Transitions Photographer: David Hajoo Choi Stylist + Art Director: Christine A. Eagleson Model: Dounia Aleksic @ Q Models NYC Assistant: Ian Brooks


Vintage Dolce & Gabbana wool trench coat; La Perla bra; Nicole Miller skirt; Anna Rosa Moschouti double loop necklace 120

Eva Franco silk blouse; Anna Rosa Moschouti double loop necklace


Retro Dolce & Gabbana sequin dress; 1930s Circa Vintage fur caplet; Anna Rosa Moschouti bracelets




Renaissance Photographer: Mandi K. Smith Stylist + Beauty: Promise Harvey Models: Juliette @ Photogenics Zoe @ Margaux Models


LEFT IMAGE: Jill Aiko Yee dress; Babylon Cartel jackets; We Are Mortals skirt; Crystal Habitats necklace RIGHT IMAGE: La Levrette top + bottoms; Crystal Habitats necklace


The Order top + bottoms


Babylon Cartel jacket; Crystal Habitats necklace


Jill Aiko Yee dress; Babylon Cartel jacket


La Levrette dress; Maria Dora necktie; Crystal Habitats jewelry; La Levrette top; Olya Kosterina bottoms; Maria Dora hat





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