ADONESUMMER 2013

AQUA

OUR BIGGEST ISSUE YET WITH 112 PAGES BURSTING WITH CREATIVITY!

FEATURINGYuki Lovey’s romantic recreation of Ophelia

Underwater worlds like you’ve never seen before

The power of electric blue clothing

AQUA

in the issue

on the cover: Yuki Lovey photographed by: Matryoshka

24

94

56

78

28

6 Editor’s Note

Beauty

8 Swept Away14 Dee Dee’s World

Art

18 Down by the Bay24 Rain, rain go(ne) away28 Artist Spotlight: Vimal Chandran

Food

34 The Art of Sushi40 Agriculture’s Future Water Demands44 Splash!

Photography

50 Rough Tides56 Intersections: Alessandro Puccinelli64 Hengki Koentjoro72 The Dark Tides of Analog

Fashion

78 Atlantica88 Ophelia94 Electric Blue104 Dark Summer

34

THE TEAM

CONTRIBUTORS

DeeDee ButtersSky Fairchild-WallerAlessandra FajaMichelle LawMatryoshkaLauren McCormick

Valerie McEachenLee MousseauDaniel RodriguesRocco SantamorenaHugh TomkinsMelanie Viger

CURATOR

FASHION EDITOR

WEB DEVELOPER/DESIGNER

ADVERTISING & PR

GILDA FURGIUELE

BIANCA WAHAB

SEAN RIOUX

MELIKA SASANI

www.adonemagazine.cominfo@adonemagazine.com

ADONE is an independently run magazine for the creative classADONE is life at it’s most creative state.

Last month ADONE celebrated its very first birthday! ADONE grew out of a need for more creativity and one year since it’s inception ADONE has created a far reaching ability to deliver more. As creators we can not be more excited that our idea and vision for ADONE has blossomed even more beautifully than we could have imagined or expected.

Thank you to all the contributors, bloggers, artists, photographers, stylists, writers, make-up artists; all the creatives who have graciously shared their amazing talents in our issues. We could not create these issues with out you! And of course we thank the readers, who give our magazine it’s soul. We hope to continue to entertain, inspire and enthuse you.

We will continue to challenge ourselves and our readers with creative features and stimulating themes. The future is bright and we look forward to sharing it with you.

With this Summer issue, appropriately themed AQUA, we continue to give you more artistically and physically. Our fourth issue is our biggest edition yet with even more features on fashion, art, photography and food.

Take a look, read, peruse, and soak in Aqua.

Yours truly,

Bianca and Gilda

EDITOR’S NOTE

SWEPT AWAYBEAUTY’S CATCH OF THE DAY

Photographer: Moose PhotographyMakeup Artist: DeeDee Butters Stylist: Bianca WahabModel: Megan W. (Angie’s Models)Jewelry: Renee Levesque Bijoux Mode

“If my work is full of life and vibrancy, it is because I am full of life and vibrancy; the personality shows in the art no matter what we do.”

Working with make up artist “Dee Dee” Butters is like going for a ride on a roller coaster, the most fun, spontaneous and flamboyant roller coaster ride you have ever been on. You get on, and it’s like nothing you ever expected with the most fun twists and spins and loops. When it’s over you’re sad, but happy you went on and can’t wait for the next time.

Our beauty editorial “Swept Away” features Dee Dee’s amazing talent, showcasing her ability to transport not only the viewer, but everyone she works with to her magical, fairy tale land.

We had to share with you the woman behind all the talent, and where it all comes from.

Dee Dee’s World

AM: Is there a specific moment, experience or vision that led you down your path to make up artistry?

DD: When I was 11... that’s right, I’m bringin’ it aaaaaall the way back, y’all. Story tiiiiime! I was sitting in my room looking at a pile of socks on the floor. I liked the way the folds looked and there was dust floating all around in the sunlight. DRAW. I felt like I’d heard someone yell it at me. Draw the Sock Pile...ile....ile. I picked up a pad and pencil and away I went.

A few months later, I used all of my mum’s best dark brown eyeshadow, neck to hairline, for a fully realized impression of Micheal Jackson complete with singing and moon-walking and a black and white outfit. This was mostly an unconnected incident - I didn’t want to touch my mum’s makeup again for fear of getting in trouble. She was highly amused and impressed with my creativity, but made is crystal clear that this was not to be a repeat gig.

Later, as I was studying visual arts at Canterbury, I saw a makeup look in a magazine that I loved. It was the heroine chic vibe of the 90s. I went around the rest of the day looking like I had been punched in the lower lashline. It was a bit much, my best friend and I agreed, but I began drawing models from magazines a lot after that. Then I decided I should just do the makeup. Off to makeup school I went. Thanks Mom!

AM: You are yourself so full of life and vibrancy, how do you translate these aspects of your personality and more into your work?

DD: I don’t. (smile). If my work is full of life and vibrancy, it is because I am full of life and vibrancy; the personality shows in the art no matter what we do. Actually, I feel the most calm present when I’m making art or doing makeup. That is why I say, if my work is vibrant and energetic, I don’t translate these aspects actively. Maybe my ‘resting state’ or ‘focused state’ is like someone else’s ‘5 I like being on set where my role is to not take up too much space when the work needs to get done. It’s relaxing.

AM: What invigorates your vision and inspiration?

DD: I want to present an unexpected and focused take on whatever the creative exercise is. If it’s about aqua, do FISH. And do it to the extreme (which can include extreme minimalism, for the record). I also like narrative - I need it - I try to find it in almost every project I am involved in. Who is this girl? What is this boy’s vibe? What is the story of this song? Where are we? Then I try to focus it down to a few elements that inform all the creative choices. So, I guess I have a rule of 3: What’s the most unexpected way to do this? What is the story? How can we focus it down it’s key elements then kick it up a notch for maximum impact? *huh. headscratch*. I have a rule of 3. How ‘bout that?

In the Painted Bird shoot, the photographer, Lucyna DanUta Bakowska (lucynadanutabakowska.blogspot.ca), said she wanted to do Futuristic Baroque. Great theme! I thought ‘How would a person in the future translate Baroque as a creative theme?’(rule #1 satisfied). I figure in the future, all we’ll really have left in any kind of abundance will be garbage (there’s #2).

“I want PROPS! AND COSTUMES! And

somebody get me a bottle of FIJI WATER!”

So I set myself the exercise of making baroque pieces out of whatever I had in my apartment that was garbage-y. I made a baroque wig (that we turned into a mohawk on the day of the shoot) and a ruff from strips of grocery bags, duct tape, pipe-cleaners and floral wire. I styled the girls in a sort of tribal painted way since I figure maybe there will be no governing bodies in the future; we’d go back to showing our allegiance to one tribe or another through symbols or colour (#3 ties it all together). Baam. And to Uta, the models looked like painted birds. She is a fabulous artist.

AM: What are some ways we can use aqua in our make-up this season?

DD: (wink) Bright morning show segment in 3, 2, (one)...

Thanks, Maria. I’ve always wondered what Uni tastes like. Here are a few tips for bringing a little aqua into your June. First, keep the

moisture up (mmmmm, moisture masks). There’s nothing more important than hydrated skin. Then try a bright aqua liner, or teal nail polish for a little POC (pop of colour, grrrrl!). And last, make sure you get a waterproof liner and a makeup setting spray so you can jump in the lake and stay looking fresh. Maybe you’ll be doing that this weekend. What do you say, John? How’s the weather for this Saturday?

AM: You’re also a vocalist and creative contributor to The Peptides. Between your two professions of makeup artist and singer, which one do you think defines you more?

DD: All of them together is what defines me. I am a generalist! I love to sing, and act, and dance, and design, and study psychology, and make my own cheese. I’m kidding. I don’t dance. I contribute as a singer in the PepTides, but perhaps I contribute more significantly to the foundation of the project in a show design and direction sense. We all direct ourselves and each other in so many aspect of the PepTides. My particular obsession, along with several other of the PepTides is to try articulate the story. And, you know what? Dammit? I need it to be a show! Not just a show: a SHOW, dammit! I want PROPS! AND COSTUMES! And somebody get me a bottle of FIJI WATER!!

Sorry, where were we?

AM: In your view, what is most important aspect of makeup artistry and application?

DD: As a makeup artist? To listen to your clients. Connect with them. Let them teach you new things. In application: look critically. Blend or don’t blend, match or don’t match. But do it on purpose. Travel fast and far in your creativity. Make your choices... MEANINGFUL. Make them MORE. Make it all mean more.

DOWN BY THE BAY

The sea inspired montage art of Sarah Eisenlohr

“I began working in collage last year, in a loose reference to mapping, charting, and cartography. I used magazines and glue as medium to transform existing images of landscapes and architecture to demonstrate the influence of people living in and interacting with these places. My point has been to show how we have the potential to explore and experience the beauty of the world around us, but also how we have the power to change it, sometimes to the point of irreversibility. Lately my work has become more personal, shifting into themes that deal with my own life and surroundings, while also experimenting with style and drawing inspiration from color. “

Rain, rain, go(ne) away

It’s raining—a lot—and it’s indoors, but you’re dry. How does UK-based rAndom International ask you to dare, trust, and choose your own adventure? Well, we thought you’d never ask. By Sky Fairchild-Waller

If you find yourself on West 54th near Sixth Avenue in New York City between now and the end of July, chances are you’ll find a small mob of people waiting to see rAndom International’s Rain Room, a major component of the EXPO 1 exhibition at MoMA. Since premiering at Barbican’s Curve Gallery in October 2012, the work has garnered quite a public following, which, as far as contemporary art goes, is nothing short of a miracle. Rain Room, an architectural installation-cum-immersive environment, is an apt title; when you walk in, you’ll find yourself in a room that is raining. The catch is that wherever you go in the 100 square metre area of the unusually beautiful torrential downpour (complete with moody backlight), the rain above you stops. Equipped

with 3D sensors that trigger overhead water valves to close when movement is detected below, the experience is part sensory-collapse (you see rain, you hear rain, but you don’t feel rain) and part anthropocentric-double take, wherein viewers must referee the false simulation of being in control of the environment around them.

As a proponent of art that avoids prescriptive experiences, I can’t tell you how happy I am that this work a) exists, and b) interests a lot of people. Forays into contemporary art that empower the viewer to exert their intrinsic agency and consider how being implicated affects their choices—which in turn affects their experience—instead of patronizing or pacifying them, have yet to become the status quo.

As rAndom International puts it, their creative output is ultimately a series of social experiments. They’re interested in providing a framework/conditions that induce physical, emotional, and psychic effects from those who are present and engaging with the work, demanding that they re-act. In this sense, the creators are as voyeuristic as they are ingenuitive; they want to see

what you do more than the other way around.

So what is it like? Well, as 1,000 litres of water falls everywhere except on you each and every minute, Rain Room facilitates an abundance of responses, which are likely to change depending on who else is in the exhibit with you; both the Barbican and MoMA list the capacity

as between 8 and 10 at a time, so if it’s you and a gaggle of 7 year-olds, well, just imagine. Sophie Risner, of WhiteHot Magazine, discusses the precarious negotiation of trust that Rain Room demands of its inhabitants. As viewers enter, they’re instructed to “walk-slowly” (3D sensors aren’t without their own lag time), so the question that inevitably mantras itself in the mind of visitor then becomes, “how fast is too fast?” When VernissageTV interviewed visitors in London, several teenagers admitted to trying to ‘out-wit’ the system, dodging from one location to another to see if the rain might impede their trajectory (it did). But whatever your experience, the point is, you decidedly construct it. It’s your own. So own it.

For more information visit:www.momaps1.org/expo1

ARTIST SPOTLIGHTVIMAL CHANDRAN

photo credit kygp

The Art of SushiSushi is an ancient Japanese tradition of preparing fish. An Itamae (chef) of sushi spends 5-10 years as an apprentice training for the eventual task of making quality and artistic food. Dedication to the craft is treated as a high honor and as such sushi is always being improved upon. Those lucky enough to sample the delectable creations of a sushi itamae experience talents driven by passed down knowledge and years of commitment to fine eating.

photo credit arrtx1

photo credit Alec [k-x]

“In order to make delicious food, you must eat delicious food. The quality of ingredients is important, but one must develop a palate capable of discerning good and bad. Without good taste, you can’t make good food. If your sense of taste is lower than that of the customers how will

you impress them?”- Jiro Ono

photo credit Gil Riego Jr

AGRICULTURE’S FUTURE WATER DEMANDS

Agriculture is without question one of the most important outlets that water sustains – but will the water for our large agricultural demands grow and last for as long as we need it to? The answer is not crystal clear.

by Valerie McEachenphotography by CIAT

Water is a big topic when it comes to food. So much of all types of nutrition has its roots from that seemingly abundant life force. Water covers 71% of the Earth’s surface. So, it is no wonder we feel empowered to use water without any restraint or worry about it running out. Although we may not realize it in our everyday routines, together we consume mass amounts of water for a variety of functions - whether for drinking, sanitation, or for cooking purposes (to name a few). Agriculture is without question one of the most important outlets that water sustains – but will the water for our large agricultural demands grow and sustain to meet our demands?

In the future, the global demand for water needed for agriculture will increase dramatically. This future water demand will be inevitable in order to keep up with similar increases in population, average incomes, and varying dietary preferences. There will be increased demands for water sources between industrial and urban consumers, as well as water for the environment, all while natural water resources are depleting. In the past, popular crops shifted as the weather did and throughout droughts people relied more on foods like grains and tuber crops which need less water to grow. Whereas today, our demand for more water dependent foods like fish, meat, sugar and dairy products has taken a toll on the supply. Over time our agricultural water usage has grown along with our population – and both continue to grow. Signs point to a realization that there may be pending global problems unless water is better managed for agriculture and average water usage is made more efficient.

Since the 1950’s the global need for water has tripled. If the water needed for agriculture can be better maintained now, global water and land resources used to grow food would be able to last for approximately 50 more years. Agricultural production uses mass amounts of water – irrigated agriculture is one of the most prevalent uses of water on earth, nearly 80% of world consumption of water. For example, in certain areas just one kilogram of grain needs 1000 L of water. Each year 1312 km3 of water is used to grow crops in order to feed cattle –

which is equivalent to 18% of total crop water consumption. Grazing cattle consume an additional 12% of total crop water. At the same time, certain areas of the globe are experiencing severe water shortages and droughts, such as in major food producing countries like Australia, parts of the United States and Europe.

By the year 2025 the world population is expected to grow by another 2.5 billion – resulting in an overall population of around 9 billion people. With such a large amount of people adding to the demand for food – and thus for water – better global management of water and food security needs to be initiated, and in turn protect natural resources and ecosystems.

The investments needed in order to manage agricultural water will have various impacts on land and water resources as well as poverty in both urban and rural areas. Future food policy needs to take into consideration the growing depletion of natural water resources, while facing the challenge of responding to increasing global demands for food and protect the world’s natural ecosystems and minimize negative impacts like poverty.

There are several undeniable facts that need to be taken into consideration for the future of agriculture and demand for food. We need water to survive, to grow our crops, feed our cattle, and sustain our environment. At the same time our natural sources for water are depleting,

and harsh weather changes are adding to the scarcity of water for agriculture. Combine these two aspects and consider how much our population, urbanization, average incomes, and dietary preferences will continue to grow and expand. The impact is inevitable, and change needs to be implemented in order to handle the dramatic increase we need to support our growing population. The future of agriculture depends on our ability to maintain and manage our water resources now.

photo credit Chris Harvey

SPLASH!

The always refreshing water-rich fruit

photo credit Justin Taylor, Roxanne van Staden

photo credit Stefan Lins

photo credit Chris Harvey

ROUGHT I D E S

The high velocity photography of Hugh Tomkins exhibits the easily swayed qualities of water from calm to turbulent in fractions of a second.

INTERSECTIONSThe body of work from photographer, Alessandro Puccinelli depicts the blurred and tumultuous moment when sea and sky reflect and meet. ADONE brings you a look

into Puccinelli’s methods and vision.

AM: Tell us a little bit about yourself.AP: My name is Alessandro Puccinelli 43 years old, italian, living in Pisa and in Lisbon. I grew up in Pisa the town well know for the Leaning Tower. Since I was young I always had a truly passion for traveling and since I discovered “surfing” at the age of 16, I started to travel quite a bit. While traveling and growing up, I found in nature and in all his aspects, a great pleasure. I have a great passion for the out-doors, it makes me feel free and I hate to stay to long in a close place like an apartment or even more in an office. I’m an introspective person and I think it’s reflected in my photog-raphy.My personal works which are mainly about the ocean have been influenced by Romantic painters such as JMW Turner, John Constable, Caspar david Friedrich, Eugène Delacroix and others.

AM: What is it about the sea that inspires you?AP: The love for the sea comes from the pas-sion for surfing and the passion for surfing is not just for for the sport in itself, it’s about a

life-styleI like to live strictly in contact with the ocean and the beach. It’s a sort of searching for free-dom while riding waves or just hanging around the beach. In the last two years for example after leaving my house in Lisbon, I bought an old camper-van which became my Portuguese home, when I’m in Portugal, I just live in the van, sleeping every night in front of the ocean, this is what surfing is all about, it’s a life style that fills my veins and the ocean is like a cap-sule that contains all this things. The ocean became a sort of my inner reflection, The pres-ence of the ocean in my everyday life is a bal-ancing factor that helps me reconnect with that internal equilibrium which, as a human being, I too easily, lose. The sea brings me clarity of thought, its waves, as described by Jack Lon-don, are ‘the knights of the infinite sea army,’ bearing simplicity, elegance, power and free-dom. But it not just that, when I’m in front of a stormy ocean or even in the water taking photos, I can also feel my fears, I can clearly see them. It seems that the sea works like a defragment software on me, it shakes me and helps to find the right path.

AM: What is your method when setting out to take photos of the water?AP: The method depends a lot on the project I’m working at. For examples, in these days I’m working at a very abstract and experimental work directly in the water using a long shut-ter speed and moving the camera following the movement of the waves. In regards of Inter-sections, the main problem is to find the right place. I need big big swells and a perfect place where the waves can smash and go up in the air and I also need to be able to get closer as I don’t use telephoto lenses at all. Usually it happens in winter when the ocean pumps a lot. I may only get one or two chances a year, it depends if I’m in the right spot at the right time. A good exercise before to start taking photos, is a bit of meditation or if I don’t feel to do it, at least, listen to some music for a while to help me to clean myself from any sort of bad thoughts and energy.Then in this case is all about shooting, waiting

for the good set and keep an eye at the clouds as the all project is about melting the two ele-ments.

AM: Where are the locations mainly?Portugal mainly, a few of them in Italy right where I live along the coast of Tuscany.

AM: Intersections is about the time and space in between - sky and water, which reflect each other. Yet there are times when water and sky meet in a much calmer fash-ion - why do you chose to showcase the aggressive and action side of water?AP: My vision of the ocean has a lot in com-mon with the Romantic period. I like to depict the ocean when it’s rough as I like the feeling of being so small in front of such forces of nature. It brings me back to a more realistic vision of life. I like the idea of being so fragile in front of a stormy ocean, to feel that unreachable power as an example to follow.

H E N G K I KOENTJORO

Skilled videographer, editor and photographer, Hengki Koentjoro journeys to depths and worlds seen by many but experienced by few. His minimal and calming photography depicts the beauty in the depths of the water, without the distraction of color.

AM: Tell us a bit about your-self.HK: I was born 50 years ago in Semarang, Central Java, Indone-sia.On my 11th birthday my parents gave me a Kodak Pocket camera as present and it remains a favor-ite toys up until now. The pocket camera was a tool to document things around the house and not before too long it became a tool of expression. I receive my edu-cation at Brooks Institute major-ing Videography with minor in Fine art photography.

AM: Your underwater photog-raphy is captivating, and con-sidering you shoot a lot of it it is presumably some of your favorite. What is it about water that inspires you?HK: I love the feeling of weight-lessness; your feet are not touch-ing the ground and you are in a 3 dimensional space therefore it fells like flying. The tranquility is another character that is captivat-ing and hypnotizing, easy to get lost within. Also, the ferocity of the thunderous waves is another

trade that is both frightening and beautiful. The ocean is alive and it is a great privilege to capture her unpredictable mood. She rarely disappoints.

AM: When many photogra-phers take to the ocean color is a huge influence on their composition, but you focus on the black and white space. With all that beauty in the color available to you, why do you choose black and white?HK: I fall in love with the photo-graphs of Ansel Adam, it transfer you to another beautiful mono-chromatic world with many tones composed masterfully to give you a certain nuance of atmospheric photography. I try to copy his trade ark of Zone System method to get those special-magical tones of grey scales. The work of Mi-chael Kenna and his minimalist style has also influenced the way I approach photography specially in playing with negative spaces; he makes less become more. But most of all, BW is simply more pliable to me specially when used as a tool to express one self.

AM: There seems to be a lot of fo-cus in composition and long ex-posure technique when you take photos on land, however, what is it like for you when you head into the water? Is there a plan for technique or composition before you dive in?HK: Trusting and respecting nature is the approach when dealing with nature. If you are patient, sooner than latter the moment will come and make sure we are ready to em-brace. The rule of thumbs in diving is to make sure safety first then the fun can begin. It also wise to protect the environment because she is deli-cate and fragile. One philosophy to approach this is “ Take only pictures and leave only bubbles”

AM: What comes with you when setting out to take photos?HK: Peace in mind and a lot of time to get lost in nature.

AM: Is there a particular per-spective you like to convey when depicting the ocean and its biol-ogy? Or do you mainly focus on the emotions and beauty that it conjures up?HK: I just want to share the emotion of the ocean and her biodiversity. All needed is to wait for that magical moment to arrive and be happy with it.

AM: Exploration seems to be a strong part of your body of work. Do you actively seek out new and different locations? Or do you explore the same areas and find a new way of representing it each time?HK:Photograph can happen any-where in any locations. It is our eyes that have to be trained to spot this beauty. I think photography is the art of seeing that is to see with soul to convey stronger emotion.

AM: What is next for you and your photography?HK: What ever come comes and the most important thing is not to stop.

“I think photography is the art of seeing that is to see with soul to

convey stronger emotion.”

THE DARK TIDES OF ANALOG

Analog photographer, LEvi Eugene, uses a slow process to capture shifting and isolating tides and it’s inter-connected nature with the moon. All images are create by hand and in camera.

“I am a photographer originally from Europe, Moldova , but now I live and work in Seattle, USA. I started film photography in April 2011 when I sold all my digital equipment and decide to move for-ward to big and bulky manual cameras loaded with film.

Film is very special choice for me. I see film pho-tography as a game in a casino. You can win big or lose it all. I press the shutter release button and then I have to wait to find out the results when the film is processed. The game doesn’t end there. I spend a really long time waiting. Only after scan-ning and post processing I can see the end result. It’s a very cool feeling, addictive like a drug.

I currently use 6x9, 6x4,5 medium format and 35mm cameras - mainly loaded with Neopan SS, Ektachrome and TriX film but mostly unknown expired film. I develop my negatives using mainly Kodak developers.

My inspiration comes from all that surrounds me and I use photography to share the way I see the world. Its takes some good passion and patience to work with film but it feels closer to me. “

- ATLANTICA -photography by Lauren McCormickstylist: Bianca Wahabmodels: Emma C & Brandon M of Angie’s Models

Ophelia

Photography and styling: Matryoshka Model: Yuki Lovey Make up artist: Michelle LawAssistant: Krishna Kanaiya

Dress - Matryoshka

Top - Cotton OnSkirt - Stylist’s own

Necklace - Matryoshka Dress - Bershka

T-shirt and white shirt Au Jour Le Jour GarçonTrousers Dead Meat

Photography by Daniel RodriguesStylist Alessandra FajaGrooming Rocco SantamorenaPhoto Assistant Alessio Zini

ELECTRICB L U E

Opposite page:LeftSweatshirt Basso&Brooke StudioTrousers White MountaineeringShoes Authentic Shoe&CoRightSweatshirt White MountaineeringBermuda Shorts TothemShoes Authentic Shoe&CoThis page: Coat Dead MeatTrousers Au Jour Le JourShoes Authentic Shoe&Co

Coat Dead MeatTank Tothem

Sweatshirt Au Jour Le Jour GarçonBermuda shorts TothemShoes Authentic Shoe&CoSunglasses Au Jour Le Jour Garçon

LeftBomber Au Jour Le JourT-shirt ZaraTrousers Au Jour Le JourShoes Authentic Shoe&CoRightSweatshirt Basso&Brooke StudioTrousers Au Jour Le JourShoes Authentic Shoe&Co

Bomber Au Jour Le Jour

Sweatshirt & Sunglasses Au Jour Le Jour Garçon

Shirt Au Jour Le JourCoat Dead Meat

DARK SUMMER

photography & styling by Gilda Furgiuelehair and make up by Melanie Vigermodel: Breanne of Spot 6 Management

bathing suit American ApparelGun metal body chain A Love of Mine BoutiqueRing Laurie Fleming

pants & bracelets: stylist’s owntop Amber Watkins shoes: Imporings: H&M, Yves St Laurent, Laurie Fleming

top: Silence and Noisebottom: Amber Watkinsnecklace: Vince Camutorings: Yves St Laurent, Laurie Flemingbracelet: stylist’s own

top & bracelets: stylist’s ownbottom: Amber Watkinsrings: H&M, Coutu Kitsch

bathing suit: Amber Watkinsrings & bracelet: H&Mnecklace: stylist’s own

bathing suit: Dineilabracelet: Coutu Kitschrings & necklace: H&Mbelts: stylist’s own

bathing suit: Amber Watkinscuff: Vince Camutoring: Yves St Laurentknuckle ring: H&Mchain ring: Laurie Flemingpyrite ring: A Love of Mine Boutique

COMING THIS FALLVOLUME 2

ISSUE 1ADONE’S 1 YEAR ANNIVERSARY