Described as being closer to an art book than a magazine, Distilled (Faint magazine’s most recent issue in print) transcends the line between contemporary art and fashion via avant-garde art direction, photography and styling. Alexandre Dubois, who is both Editor-in-Chief and Art Director, exercised creative control over all aspects of its production.

An Adelaide boy originally, Dubois was inspired by a stint as a press photographer at Rosemount Australian Fashion Week to focus on creating a magazine with relevance. In September 2010 he packed up his bags and moved to Melbourne. One month later he launched the first issue of Faint online. Five issues on, the inaugural print edition is the product of what he describes as a “distilled process”, adding that it reflects Faint in its purest form. “The content of Distilled is intended to showcase the beauty in the unexpected, to disassociate [from] the connotation that for something to be beautiful, it must look nice,” Dubois says.

Lending their creative talents to this issue are Australian artists Sam Jinks, whose hyperrealist silicon sculptures trawl an uncomfortable space far removed from Photoshop fantasy; ethereal underwater wonderlands by photographer Mark Mawson; and fashion designer Akira Isogawa, who discusses bridging the gap between fashion and art with his costume designs for The Australian Ballet’s Romeo and Juliet. The cover image, photographed by Dubois, showcases a crow-black Prada couture fantasy from Melbourne boutique Madam Virtue & Co.

Alongside the eloquent profiles of international art stars are photo editorials that are impressively diverse, aesthetically uncompromising and created by trailblazing artists from all over the globe. There is also a considerable amount of Australian content in Distilled – both written and visual.

“I wanted to create a magazine that gives emerging photographers, designers, make up artists, stylists and all other practising artists that fall under the umbrella of creation the chance to have their work get the recognition it deserves,” explains Dubois. “Faint acts as a platform to break the boundaries between the emerging and the well established.”

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