atmos

Nature is what we all have in common. Today, we’re launching our new membership program, the BIOME. Your support will help us continue telling stories that span climate and culture and uplifting the voices that need to be heard. All members receive each new issue of Atmos Magazine and 50% off all available archival issues. Other perks include priority access to Atmos events, special thanks across our channels, and complimentary annual prints. Become a member by October 4th to have your name printed in our upcoming volume. Thank you for however you show up in our community. Sign up to the BIOME today at the link in our bio. Video by @astat

Notes on Palestinian spectrality. ⁠ ⁠ For Atmos Volume 10: Afterlife, Palestinian-American poet George Abraham (@intifadabatata) reflects on the layered erasure of Palestinian identity, memory, and existence through systemic violence, colonialism, settler capitalism, and digital filtering. ⁠ ⁠ Abraham intertwines personal and collective grief, contemplating the unquantifiable loss behind each life displaced or erased, while challenging the Western commodification of Palestinian voices and resistance. “We have failed all of Gaza,” they write. “‘How are we still in this?’ was the question we were asking ourselves months ago. This is the new regime of time; no, this is time itself.”⁠ ⁠ Head to the link in our bio for the full story. ⁠ ⁠ Artwork by @sliman.mansour

All we want for Christmas is less waste. When it comes to gifting around the holidays, it’s tempting to buy something new—whether it’s the latest gaming technology or a trendy jacket. But buying new doesn’t just impact our wallets, it can be harmful to the planet, too. The perfect gift might already be in your possession. With millions of gifts ending up in landfills each year, regifting is more than just a practical solution—it’s a sustainable choice that helps reduce waste and gives items a second chance to shine. For Atmos, @sophiebenson makes the simple case for regifting. Head to the link in our bio for the full story. Photographs by @estevezandbelloso Set Design by @cristinaramosatelier /@themagnetagency Set Design Assistant @anna_morell Social Design by @astat

Turning trash into treasure. For years, countries in the Global North have exported their plastic, electronic, and textile waste to regions in the Global South, choking their already overburdened waste management systems. The Democratic Republic of the Congo, for example, imports 21,600 tonnes of electronic equipment per year, of which 16,050 tonnes becomes waste. The country’s annual @kinact_festival sees some of this waste transformed into fashion. Using discarded materials, a collective of artists from the @ndaku_ya_la_vie_est_belle cultural center in Kinshasa transform aluminum cans, light bulbs, and computer parts into innovative costumes. In addition to creating a platform for local Congolese artists to showcase their talent—the works also help manage the city’s waste crisis. For Atmos Volume 10: Afterlife, photographer @philipdanielducasse visits the festival to capture what happens when waste comes to life and Culture Director @daphnemilner unpacks how fashion became the business of excess. Head to the link in our bio for the full story. Costumes: Eddy Ekete, Bestaguy Bayoka, Luc Masala, Putela Tantine Talent: Bonaza Amigo, Bestaguy Bayoka, Man Mpote, Tumba Lion, Thomas Ntsuka Atmos Volume 10: Afterlife Cofounder/Chief Creative Officer @jakesarge Cofounder/Editor-In-Chief @willowonearth Managing Director @the.resaperez Managing Editor @karen.pk.gray Art Director @tessaforrest Creative Producer @anameizing Designed by @actualsource.work Print Editor @unwrinkling Editorial Assistant @jasminexhardy Social Media Director @elieoutside

When did throwaway culture become big business? It’s no secret that fashion has a waste problem. In fact, the industry is estimated to generate over 101 million tons of waste every year. At our current rate of consumption, that number is only expected to grow. Meanwhile, the lifespan of clothes is shortening thanks to decreasing garment quality and an ever-accelerating trend cycle. For our planet, the repercussions are dire. Roughly 60% of our garments are made from fossil fuel-derived textiles—some of which can take up to 200 years to decompose. In the process, they shed an immense amount of microplastics—between 200,000 and 500,000 tons enter marine ecosystems from textiles every year. From overproduction and consumption to disposal, it’s time for the fashion industry to be held accountable. For Atmos Volume 10: Afterlife, Culture Director @daphnemilner breaks down how excess and waste have become instrumental to the fashion system. Head to the link in our bio for the full story. Photographs by @philipdanielducasse taken at the @kinact_festival in the Democratic Republic of the Congo. Atmos Volume 10: Afterlife Cofounder/Chief Creative Officer @jakesarge Cofounder/Editor-In-Chief @willowonearth Managing Director @the.resaperez Managing Editor @karen.pk.gray Art Director @tessaforrest Creative Producer @anameizing Designed by @actualsource.work Print Editor @unwrinkling Editorial Assistant @jasminexhardy Social Media Director @elieoutside

Celebrating transmutation in nature. ⁠ ⁠ In @bonjourlatour’s “Bound Species” series, the Vancouver-based artist builds organic sculptures by fusing locally sourced fresh flowers and plants to a singular stem. Born during her time in lockdown in 2020, Latour felt inspired to create while honoring the composition, colors, and beauty of the landscape around her. ⁠ ⁠ The series highlights the interconnection between flora, fauna, and landscapes, in addition to serving as a reminder of the fluidity and power of transformation in the natural world.

Is this nature’s gateway? A subsun, or undersun, occurs when sunlight is reflected on ice crystals in the atmosphere, creating a glowing spot or disk below the sun, often visible from above clouds or mist. Plate crystals act like tiny mirrors, and their subtle tilts can elongate the effect into a light pillar. The optical illusion can make it seem as if there is a celestial portal suspended in midair. Video by Gabby Chavez Source: World Meteorological Organization

Nothing ever ends. Last night, our community came together in celebration of five years since the birth of Atmos and the release of our tenth print volume: Afterlife. Hanging around the space were prints of various ecosystems that contributors captured for the issue, ranging from the Arctic Tundra in Svalbard to the lush rainforests of Borneo. This concept of nothing truly ending was the seed for the Afterlife issue. It’s also a reminder that despite a year of heartbreaking loss and blows for future climate progress, our commitment to protecting people and the planet is never over. We were also honored to welcome butoh dancer @norihito_ishii, who gave two captivating live performances and sat down with photographer @tomjohnsonstudio for a discussion on the origins of butoh and how the haunting art form reflects the theme of Afterlife. Head to the link in our bio for more. Photographs by @leandrojusten Venue @thirdsbk Music by @oyinda Florals by @mimosafloral Special thanks to @norihito_ishii, @tomjohnsonstudio, & @kaixisa

Can we hold onto awe amid biodiversity loss? Wherever you live in the world, it’s happening: The pulsating richness of the tree of life on this planet is withering. Today, 48% of the world’s species are in decline—around one million animal and plant species are threatened with extinction. So, how are we to live in the face of overwhelming ecological death that threatens the rich biodiversity of this planet? For Atmos Volume 10: Afterlife, Print Editor Whitney Bauck (@unwrinkling) sat down with Pulitzer-prize winning author of The Sixth Extinction @elizkolbertauthor and the protagonist of the Oscar-winning documentary film @myoctopusteacher Craig Foster (@theoctopusteacherr) to discuss extinction, wonder, and the weight of living in the Anthropocene. Head to the link in our bio for the full conversation. Photographs by @stefandotter shot across two distinct landscapes in Indonesia: the biodiverse rainforest of Borneo and the overwhelming pollution in Jakarta. Special thanks to @alamsehatlestari, @lailylutf & @evani_danica Atmos Volume 10: Afterlife Cofounder/Chief Creative Officer @jakesarge Cofounder/Editor-In-Chief @willowonearth Managing Director @the.resaperez Managing Editor @karen.pk.gray Art Director @tessaforrest Creative Producer @anameizing Designed by @actualsource.work Print Editor @unwrinkling Editorial Assistant @jasminexhardy Social Media Director @elieoutside

Restoring reverence. Not long ago, the sounds of insects may have been deafening, and coral reefs were more colourful—teeming with an abundance of species. But today, entire groups of animal species are vanishing at a rate 35 times faster than expected due to human activity. One thing is overwhelmingly clear—it’s time to mend our relationships with our non-human kin—before it’s too late. For Atmos Volume 10: Afterlife, Print Editor Whitney Bauck (@unwrinkling) speaks with biodiversity experts @elizkolbertauthor and Craig Foster (@theoctopusteacherr) on reigniting wonder with the planet and photographer @stefandotter highlights the juxtaposition of biodiversity and human pollution in Indonesia. Order your copy of the new issue at the link in our bio. Special thanks to @alamsehatlestari, @lailylutf & @evani_danica Atmos Volume 10: Afterlife Cofounder/Chief Creative Officer @jakesarge Cofounder/Editor-In-Chief @willowonearth Managing Director @the.resaperez Managing Editor @karen.pk.gray Art Director @tessaforrest Creative Producer @anameizing Designed by @actualsource.work Print Editor @unwrinkling Editorial Assistant @jasminexhardy Social Media Director @elieoutside

Through resistant ecologies, South Lebanon rebuilds again. The constant waves of war have dictated every aspect of life and livelihood in south Lebanon. The most recent assault, which began on October 8, 2023 and escalated by late September 2024, is only the latest in a series of historical aggression perpetrated by Israel. Following the creation of Israel on, and subsequent occupation of, Palestinian land in 1948, many displaced Palestinian families moved to southern Lebanon. Over time, both Palestinian and southern Lebanese communities formed the backbone of local resistance movements united under the cause of Palestinian liberation. This history of resistance has made south Lebanon a repeated target of attacks, which is evident now, particularly since the Israeli genocide in Gaza began. Now, two months after Israel’s ground invasion, families in southern Lebanon are returning to tend to their homes and orchards. Resistance, they say, is rooted in the land itself. “We, the people of south Lebanon, whatever happens, we hold on to the land. We don’t have anything else.” For Atmos, @khaledalq.jpg speaks to the individuals planting seeds in a war-torn land. Head to the link in our bio for the full story. Photographs by @myriamboulos / @magnumphotos Design by @astat

Feeling nostalgic? The climate crisis might be to blame. From Tamagotchis to dumbphones, the revival of #Y2K clothing, toys, and tech isn’t just about following trends. Experts say it’s become a cultural coping mechanism for climate anxiety. Nostalgia is not a new emotional response to crisis, but the pace and scale of its commodification today are unprecedented. Nostalgia has quickly become a marketable product—and brands have jumped on the bandwagon. The issue raises questions about the ethics of repackaging and selling our intimate emotions to maximize corporate profits. For Atmos, Culture Director @daphnemilner breaks down how the climate crisis has fuelled nostalgiacore. Head to the link in our bio for the full story. Photographs by @johnsonluii Styling by @camillapole Styling assistant Gigi Bolant Make up by @karo_kangas Hair by @dennisgots Prop stylist @salaejohnson Social Design @astat Casting @memoriadi.nyc Talent @jahsai, @delphineclowe, @marwangggggg, @chapochrist , @courtneymawhorrr, @lila.doliner Special thanks to: Sam and @othedragon Vintage clothing sourced from @squaresvillevintage, @shopsleeper, @the.attic.la, and @jamesveloria