A man in a bright red button-up shirt and black trousers stands in an open grassy meadow with red paper sheets floating through the air.

Model with short reddish hair wearing a dark halter top and long bronze skirt standing in a grassy meadow at sunset.

Close-up soft-focus portrait of a red-haired woman with eyes closed against an ocean background.

Model wearing a sculptural hanging rope garment posing outdoors on a grassy coastal ridge overlooking the open sea.

Silhouette of a person holding a long translucent yellow fabric blowing in the wind across a grassy field at sunset.

Model draped in a flowing pink veil and cream dress by the ocean with seabirds

Model jumping in the air on a sandy beach holding an inside-out red umbrella, with wind turbines on the horizon.

Silhouette of a person holding a long, sheer flowing fabric against a radiant golden hour sunset in an open field.

Silhouetted figure looking up towards a bright sunburst with fabric billowing against the sky in warm sunlight.

Atmos Magazine Blowin’ in the Wind 2026

About

Blowin’ in the Wind, a compelling editorial spread for Atmos Magazine, masterfully navigates the intersection of human movement and environmental fragility. Captured with the keen eye of photographer Bex Day, the project functions as a visual meditation on the elements, utilizing the persistent, often chaotic force of wind as a narrative anchor. Through the lens, the editorial leans into a cinematic aesthetic, frequently employing natural light to bathe subjects in the soft, transient glows of twilight and golden hour. The visual vocabulary is defined by intentional, raw textures, where custom-woven nautical rope and flowing, translucent fabrics interact with the landscapes of coastal fields and expansive shorelines. With fashion curation by Juanjose Mouko Nsue, the styling enhances this atmosphere, while the contributions of hair stylist Tommy Taylor and makeup artist Sandra Cooke preserve a sense of organic, unvarnished beauty. From surreal, high-speed freeze imagery capturing an inverted umbrella to the dreamlike quality of 35mm film light leaks, the series is both grounded and ethereal. By framing the models, including Benno Bulang and Edwina Preston, against distant offshore wind turbines, the project subtly invokes a dialogue about energy and our place within a changing climate. This is not merely portraiture but a sophisticated exercise in composition, where every gust of wind and shift in light serves a broader, atmospheric storytelling purpose.