In most cases to say that a magazine is insightful, perceptive and coy is to apply far too much personification to sheets of glossy paper. This is not the case with the newly launched FAT (fashion, art and type) Magazine. With its witty double entendre name and biting critique of fashion publications themselves the magazine ventures into compelling new territory. From the first page – which bemoans the repetitive nature of publishing and it’s lack of originality – you get the feeling you’re in for something out of the ordinary.
The most jarring component of FAT is it’s complete lack of advertising. While ad-dicts may bemoan not getting to see another Givenchy campaign image there is something ingenious about the uninterrupted flow of the magazine. The experience is akin to the difference between watching a film edited for television and watching one in IMAX. Nothing interrupts the experience – as you move between the sections and articles every portion feels cohesive. On one page you are treated to a Erika Trotzig’s design sketches, on another Douglas Gordon’s mass media art, in between this Natalia Vodianova’s gloriously expressive face. Rather than seeming like three separate entities the lack of ad space allows these to merge into one engaging tale.
As for the content itself, everything registers as fresh – Magnus Unnar shoots an unexpectedly raw Chanel Iman prancing on Manhattan rooftops. Keegan Singh lends his expert hand to the Clockwork Orange meets Iggy Pop styling of the Hell Boys editorial wherein Yuri Pleskun steals the show. Natalia is Natalia, even with equally iconic Helena shooting. As the phrase goes it’s all good but the real joy of the issue comes from the eye candy of the type section wherein designers Studio Von Birken, Finsta, GVA Studio, Stileto NYC and more exhibit some incredibly intriguing graphic play. Not since Helvetica, has type been more appealing. You may want to pick up two issues – one to keep and one to decorate your wall.