aura fashion magazine

RULES ? WHAT RULES? WE WILL DO WHAT WE WANT.

it’s fashion! we just do it a bit differently.

IF WE DON’T LOVE LOVE LOVE IT, WE DON’T BUY IT.

Introducing:

FEATURED DESIGNERS:

. . . f r o m C a l g a r y !

MADAME WOLF

BROKEN DOLL

CLOTHING

TONANZIN

amazing feature spread:

AURORA BOREALIS

AURA Fashion Magazine

We will never be the same. As fashion is always changing, so will Aura Fashion Magazine. We will not support redundancy; we are constantly evolving.

We will create, build and inspire.

We are designers in our own right—just as if you are sitting at a runway show, not knowing what is going to come out next, only we work with a different medium.

AURAFashion Magazine Issue One 3

Designer: Broken Doll Clothing Photographer: Michelle HumeMakeup: www.ohcbeauty.comModel: Katherine

TA B L E ofContentsIntroducing our first

face of AURA Fashion1024

38

6456

Aurora Borealis

Broken Doll Clothing

The Awakening of a True Fashion Stylist

Madame Wolf

AURA

Fash

ion

Mag

azin

eCheryl Lerbekmo-Blind Tessa Rei Lerbekmo

AURA How do interns get an internship at AURA Fashion magazine? And what are the smart tips to follow?

CLB Interns gets these opportunities with their drive. We interviewed a lot of people that showed interest and we are still looking to fill more roles. We want to be very diverse as we show the same with our magazine. Interns need to have a key interest in fashion and are able to adapt quickly to any environment. We like out of the box thinkers. Because we were out of the box a long time ago.

AURA What tips do you recommend for young people looking to break into the fashion, design and business industry?

CLB You have to have drive and passion in anything that you do for it to work. Fashion changes all the time and to be ahead of the game you need to be a visionary with something new to offer. Know your market, but most of all know yourself.

AURA Why fashion graphic design and why it is good to start here?

TRL I combined these two extremely important things to me and the design industry because I have the passion and I know my talents can provide for other fashion, art and design lovers. In the fashion and design industry, new ideas are always established to create varieties and movement. To be an designer or artist, we should have the “eye” and “creativity” to always come up with new results.There are different areas for strengths that are required from us designers and artists to provide the high quality of aesthetics and atmosphere. Fashion and graphic design are some of the strongest and boldest establishments to keep up with in this generation. I know I have the tools and manual which is why I combine my two strong interests and skills together to become one of a kind. This is a small industry so it’s great to start something new.

Rhonda Bassit Diandra Good Michelle Hume

Photography by David Branch

AURA When you hear the word fashion the first thing that comes to mind is?

DG Excitement. I have a love for everything fashion and it’s something that I really want to make a career out of. AURA Fashion Magazine has really been the first opportunity in Calgary for me to do so. If you think about it, all other Canadian fashion magazines are in Toronto, Vancouver, and Montreal. These ladies really are putting Calgary on the map and I’m so excited to be a part of it.

AURA What makes AURA Fashion Magazine so different?

DG The future of AURA Fashion Magazine really is going to be huge. I’m not just saying that because I’m part of the team, but I really think we have big things in our future. We’re taking the time to establish a solid magazine that we know people will want to read.

AURA Why do you think AURA Fashion Magazine is good for local people that design?

RB I think that AURA Fashion Magazine is great for the Calgary scene because it will give local designers, photographers and people in the fashion industry here more exposure. I feel that our goal at AURA Fashion Magazine is to show Calgary and the world that there is so much local talent in our wonderful city.

AURA Why do you think it’s important to build the fashion industry here in Calgary?

RB I do think that it is important to build the fashion industry in Calgary. There are so many talented people who live here and we hope that AURA Fashion Magazine can be a creative outlet for those people. Hopefully we can give positive exposure to the designers, models and photographers we work with.

AURA Photography... you get some really great shots.. How?

MH I am very interested with the design concepts utilized by the director Wes Anderson. He has played a lot around with the rule of threes and how it pertains to his strange sense of symmetry. This has become my main instrument in creating a self contained atmosphere in a shot that is both cinematic and tells a story.

AURa Why photography?

MH I actually consider myself as a jack of all trades. Working with artists and fashion it is the most sensible to pursue photography.Additionally I am working on developing my interests in performance, video based work, illustration, and painting.

“Put yourselves in our shoes and come along for the fashion ride.”-AURA Fashion Magazine


If you did not know

Tonanzin Romero before,

you know her now. She is a

captivating beauty and her

face exemplifies what true

exotic splendor represents.

We are honored to have her

as our first “Face of AURA

Fashion Magazine.” Tonanzin

has a positive, subtle energy

that enthralled all of the

AURA Fashion Magazine

team as she walked into

the room. She credits her

energy towards living an

optimistic and healthy life

style while meditating daily

to combat daily life stresses.

With young experience and

little direction, this gem

was wonderful to work with

and her positive energy has

been commemorated on

the pages of our covergirl

spread.

Tona

nzin


www.larapresber.com

FASHIONFASHION

FASHIONAURAFashion Magazine Issue One 22

FASHIONin the world

of

Surviving Surviving

FASHION

The world of fashion often proves to be tough for a designer to break into. Everything from putting together a collection to marketing the product for sale requires a vast set of attributes that not all designers possess on their own. Some of the dilemmas these designers often run into include distribution problems, the cost of fabric, producing products on time, turn around time, and external factors. Fashion designers also require a retailer that is willing to buy the finished product and local media support to get their product out there. Other setbacks include a fluctuation in the length of production time, lack of personal inspiration, and a lack of local resources. Evidently, many obstacles stand in their way.

There are vast distribution problems for many designers. To start, a designer builds a collection that it is then shown in a local trade show or fashion show where a buyer shows up and wants to purchase units. This initiates the timeline of the finished product for it takes around six to eight months lead-time to complete a collection. This leads to the major challenge of finding employees to complete production on time for as a designer you are at a buyer’s whim. The finished product needs to be in possession at least two weeks before the buyer puts it on the floor. The pressure is then on the designer for they are obligated to produce a product for the retailer in a limited timeframe or their product will be replaced by another. It is therefore essential that products be received by the retailer at the

agreed upon time.

Because of the half a year lead-time, buyers might also back out of a contract due to internal financial reasons, including budget cuts, or external economic factors, such as market changes. Typically a buyer is not responsible for bringing the finished product into the store, so if a buyer backs out it results in lost revenue to the designer and the cost of production as well; this is perhaps insignificant to a large company, but a huge blow to a small company. If the buyer backs out, the designer then has to find a place to warehouse the goods until another buyer is found. Again, this would add to the financial stress of a budding designer.

The cost of fabric might also pose some concerns for designers. Designers do not want to use cheap fabrics, zippers, buttons, notions or finishes. They want to create a high quality product for the buyer is expecting premium clothing and/or products, for that is what was seen at the trade or fashion show. However if premium products are wanted, premium prices are paid for raw materials. Some fabrics can cost up to $200 per yard, and it can take up to six yards to make a dress and two hundred dresses may have been ordered by the buyer, you can just imagine the cost.

Two major factors that contribute to the cost of fabric are crop yields and petroleum prices. With a bad crop, prices of fabrics will increase due to a short supply of material which in turn increases demand.

A bad crop affects prices in fabrics such as silk, cotton, and wool, which are natural fibers. The second factor that affects the price of fabric is petroleum prices. Synthetic fabrics such as polyester, rayon, and spandex are based on petroleum prices because they are petroleum based. If the price of a barrel of oil is high, so will the cost of these fabrics. The cost of fabric is often expensive which can cause financial problems for both small and large companies.

Once the fabric is bought, designers seldom can sew the entire collection themselves. Often designers have to outsource their production. Finding a proper production facility is often a challenge. When one is found the designer has to show the employees how to make the product. A price from the factory as well as a time line is then quoted. This quote then has to be figured into the budget so the designer is not losing money. If this is agreed, the facility is then paid, the goods are made, and the factory may then warehouse the goods. If this is possible, the factory can then distribute to the buyer for the designer. If the factory cannot, the designer needs to find a place to store the finished product which can often be a challenge. Dealing with a production facility is often stressful. Even when a factory is found they may not be able to fit the production of the collection at the designer’s desired time, because they might have any number of other designers’ collections at the forefront. This situation may then cause conflict between the buyer’s deadline and factory

lead-times.

Finding retailers to buy the finished product is another challenge. Retailers are always going to buy products that are best for their company. That is why it is important that the designer’s vision should match the buyer’s taste. A price is often negotiated between the designer and a buyer. Retailers always charge a price so they can make a profit. A retail price is set that drives business to the store. If a designer’s product does not drive business within their store, in the buyer’s mind they are losing credibility with their customers. It’s important that quality goods are made. Designers are often considered at fault with the buyers if the product does not sell in their retail stores.

Resources and capital are very important to anyone in the fashion industry. A designer needs to have resources to pay a factory, buy hardware and put on a show. All these effects cost money. To get a collection from paper sketches and into a retailer’s store requires a considerable amount of capital, which for most is a challenge to generate. It also requires business sense and marketing skills. An overwhelming satisfaction for any designer is having a collection do well. If marketed properly, a collection will sell well and attract more buyers and additional orders from current buyers. This creates economic growth which in turn minimizes financial hardships because capital has been gained to the designer’s company.

...continued on page 72


Designer: Broken Doll ClothingPhotographer: Alicia PriceModel: Liya Heye

Aura When did you realize you wanted to design clothes for women?

BDC Grade 9. I made my first dress for graduation. It was so ugly, but I wore it. I continued throughout high school, doing little shows here and there and making other students grad dresses. So I guess the answer to the question was since the beginning.

AURA How did Broken Doll come about?

BDC Thinking back to when I first started, it was a mess. It took a few years to figure out what I was doing. I started out with a homemade website. And I really loved printed fabrics, so my first few collections were 80% printed dresses. Figured out fast that those don’t sell quite as well I as thought they would. So Broken Doll Clothing came about with a hope and a dream and a lot of trial and error.

AURA How would you define fashion in Calgary?

BDC I always say Calgary is a very mall oriented city. Everywhere you turn there is a mall. I think that is the main reason the boutiques don’t last as long as they would in let’s say, Vancouver. I went out one night and 10 girls were wearing the exact same Aritzia dress.

Aura Where do you buy your fabrics?

BDC I get my fabrics from a wholesaler in Montreal and from a wholesaler in BC.

Aura Who are some of your favourite designers?

BDC Marc Jacobs...love, love, love him.

Aura What inspires you?

BDC I get my initial inspiration from fabrics and colors. I always choose my fabrics before I start to design a collection.

Aura Do you have a favourite piece from your new Fall/Winter 2010/2011 collection?

BDC I would say the fawn and Carson hoodie are a must have from my fall collection.

Aura How important to you is it to use eco knit fabrics and organic cotton?

BDC I have converted to using 95% eco friendly fabrics. Not only does it have a positive effect on the environment, but it is by far the best quality, softest fabric. And that is extremely important because I want all my clothes to last, and for them to feel like you are wearing your pajamas.

Aura What success as a fashion designer look like to you? Have you reached it yet?

BDC I would say this is my first real year as a designer, just because this is the first collection that I am completely comfortable with. So no I have not reached my level of success. In the next 6 years I would like to sell in 50 Canadian stores and 50 International stores. And be spotted on a few celebrities.

Aura Where do you see yourself going as a fashion designer?

BDC I see my self reaching my goals. It may take longer than 6 years, who knows, but I know I will get there. I have the most

Aura How would you define your F/W 10/11 collection?

BDC My collection is a bit of everything. Casual, sophisticated, flirty, daytime, and evening.

Aura When you envision the woman you design for, who is she? What is she like? Who do you see wearing your clothes?

BDC My goal is to steer Broken Doll Clothing towards a more mature woman. Since I am 27 now I would like my collections to be geared to the mature every day woman (which is more apparent in my summer 2011 collection). I design for everybody type now. In the past that wasn’t so apparent since I started Broken Doll at a point in my life when I had no hips or ass.

Aura How long does the whole design process take?

BDC Usually about five months for a whole collection.

Aura You mentioned you were working on a new line of yoga wear. When will that be coming out?

BDC That will be coming out for spring / summer 2011. I am extremely excited about this project. It will be 100% eco friendly! And it will be a different experience since I have a partner (Kylee Sorenson) for this company. •

supportive people around me so that gives me confidence to keep going.

FASHIONdan dy [dan-dee]-noun1. a male who is obsessed and excessively cares about his appearance (details with looks and clothes)

2. developed in late 1800’s and early 1900’s from the class of aristocracy.

fad -noun1. short term

styles that are fashionable for a period of tim

e but usually quickly discarded

stylist [stahy-list]

1. a designer or consultant in a field subject to changes in style, esp. hairdressing, clothing or interior decoration.

2. a person who cultivates or maintains any particular style.

-noun

garment [gahr-muh nt]

1. any article of clothing: dresses, suits,hats, and other garments.

2. a textile fashioned into clothing.

-noun

masculinity [m

as-kyuh-lin]

-noun and adjective1. using sim

ilar characteristics of a man or

men: m

asculine attire

2. m

asculine attributes

include virility,

vigor, and power. The term

is also used to refer to socially sanctioned qualities such as superiority or strength.

camisole [kam-uh-sohl]

1. a short garment worn underneath a sheer bodice to conceal the underwear.

2. a short sleeveless undergarment like a vest with thin straps.

-noun

chic [sheek]

-noun1.attractive and fashionable. A word of French origin to indicate elegance, taste, and style that probably developed during the Belle Epoque.

cowl [koul]-noun1. hood or long hooded cloak.

2. originally worn by monks

aura [awr-uh]-noun, plural1.a subtly pervasive quality or atmosphere seen as emanating from a person, place or thing [*our magazine*]

bustier [boos-tyey]-noun1. a woman’s close-fitting, sleeveless, strapless top, often elasticized, usually having boning or facing to give it shape, and worn as a blouse.2. originally worn by monks

model [mod - l]

1. live mannequins who show apparel at fashion shows and appear in fashion advertisments and magazines. First initated in 1853 by Marie Worth, wife of Charles Worth, to promote his fashions, modeling took off in the twenties century and became a glamorous careers for men and women.

-noun


fashion magazine[fash-uh n]-noun1. specialist magazine reporting on latest trends, cultures, tastemakers, and technologies.

2. fashion magazines rely heavily on advertising and “contra” deals (convenient exchanges or arrangements) between editors and agents and representatives of the fashion industry.

trend-noun1. the direction in which a fashion or style is heading.

vict

oria

n [v

ik-t

awr-

ee-u

h n,

-toh

r-]

-adj

ecti

ve1.

an

engl

ish

peri

od t

hat

was

dev

elop

ed w

ith

Que

en V

icto

ria,

who

rul

ed fr

om 1

837

to 1

901,

du

ring

whi

ch t

here

was

gre

at c

onse

ratis

m i

n fa

shio

n an

d st

rict

mor

al c

odes

.

2. w

hen

fash

ion

uses

the

ter

m,

vict

oria

n th

ey

mea

n th

e fa

ncy

and

over

the

top

dec

ors

on a

cl

othi

ng p

eice

or

inte

rior

set

ting

for

phot

o sh

oots

or

them

es.

monochrome [mon-uh-krohm]

-noun1. the use of a single color.

seasons [see-zuh n]-noun1. a fashion term used to describe the biannual spring/summerand autumn/winter collections produced by many designers months in advance.

advertising [ad-ver-tahy-zing]-noun

1.diverse forms of communications about products and ideas, mostly connecting with mass media and consumer society.

2. includes uses of typography, imagery, catchy words. Usually presented in magazines, posters and billboards.

color wheel [kuhl-er hw

eel]-noun1.a system

usin

g the co

lor sp

ectrum

and

classifying co

lors as p

rimary, seco

ndary,

and tertiary h

ues th

at is used

in fash

ion

to d

etemin

e com

patib

le and co

ntrastin

g co

lors co

mbin

ations.

FASHION

cout

ure

[koo

-too

r]

1.

clot

hing

tha

t is

ind

ivid

ually

cre

ated

, us

ually

by

co

mm

issi

on,

invo

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ting

; co

mm

only

as

soci

ated

w

ith

Pari

sian

fa

shio

n.

-nou

n

fashion cycle [fash-uh n, sahy-kuhl]

-noun1. the regular reappearance and regeneration of distinctive periodic styles that serve as inspirations for new fashions and trends.

silk [silk]-noun1. a natural fiber spun from the cocoon of the silkworm to produce a yarn that is then woven into luxurious fabrics and clothing articles.

grosgrain [roh-greyn]

-noun1.silk woven with crosswire ribs or stripes.

chol

i [ch

oh-le

e]

-nou

n1.

a sh

ort,

tight

fitt

ing

tailo

red

blou

se w

orn

unde

r a sa

ri.


chic [sheek]

1. hood or long hooded cloak.

2. originally worn by monks

The AWAKeNING

TRUe FAShIONAURAFashion Magazine Issue One 38

AWAKeNING FOR those that follow fashion, and even those that don’t, there are certain key players that are recognizable in the industry. We have designers, photographers, the magazines and their editors, etc… The basic team we see running the show. There are certain roles, however, we don’t necessarily know about. The work of these individuals is seen just about everywhere, and yet they go unrecognized. Take celebrities. Do we actually think a great sense of style and taste comes naturally to all of them? No. They hire specific individuals to help them land on next week’s best-dressed list. Every photo shoot in a magazine requires several individuals to sort through all the designer’s samples and choose what will be in the magazine; essentially the designer’s fate is in their hands. Grace Coddington, as seen in The September Issue, is extremely influential as the creative director for America Vogue. She, along with an experienced team and the guidance of Anna Wintour, decide what clothes will grace the pages of Fashion’s Bible. Even the designers themselves will hire an outside source to help put looks together, shape collections, and establish the models order down a runway. Who are these masterminds behind the looks we soak up season to season? They are Stylists, and their profession is finally starting to gain much deserved recognition for its key role in fashion.

Their keen eye for colors, textures, and shapes set the trends two seasons from now. Stylists are visionaries—they see where fashion is going before it gets there. This talent is both innate and learnt. Stylists are natural at what they do. But it requires a lot of experience and knowledge as well. It can’t all be about following one’s instincts. And it certainly isn’t all about what they love for themselves. They have to consider a broader audience. Most often then not the looks in magazines and on runways are not replicated to the exact detail, but instead the audience can take away colors, shapes, and fabrics that compliment one another. A Stylist can show us how to use what we’ve got to its full advantage. They help us explore looks we never would have considered before. They bring some cohesion to all the different choices we have out there to pull from. And at times pull us out of our little box we all like to stay in.

OF A

StylistAURAFashion Magazine Issue One 39

Not all natural born Stylists take it to the professional level. There are many among us, masked as the bank clerk, the sales associate, our friendly doctor… They have the natural ability to dress exceptionally well all on their own. Although some may not recognize it as a talent, it really is something to be respected. They reside amongst us, even here in Calgary. And guaranteed we’ve taken inspiration from their outfit.

Among these individuals is Hassan Elkadiri, stockbroker by profession, fashionable by disposition. Besides stock advice, his friends look to him for fashion guidance. Why? Because of his impeccable style and flawless wardrobe. Clearly a man who knows how to dress himself to the nines understands a thing or two about style. We sat down with Hassan to get his take on fashion and the one piece of advice he dubs the most important.

AURA Where do you shop?

HE I shop anywhere - I keep my eyes open for good pieces all the time -

and it always starts with the shoes - then I work my way up.

Aura When you buy an article of clothing or an accessory do you consider all the things you currently have to wear it with?

HE Yes I always do - if there is just one single thing that it will work with than I’ll buy [but] if there is not - than I do not unless I really really love it.

Aura Have you always had an interest in fashion?

HE Yes always have and always will - I live for fashion *laughs* well not really - since I was a really young boy my parents would dress me up to the best of their ability - we grew up poor - so they did a great job - now looking back at my childhood pictures.

Aura Who are your favorite designers to follow and wear?

HEToo many to list but here it goes - ETRO - PAUL SMITH - VERSACE - DS2 - D&G - ARMANI - RALPH LAUREN - PRADA -

Aura What is it

but if I were to need something right away I would go to Holt Renfrew, Harry Rosen, ZARA, [stores on] 4th Street SW.

Aura What magazines do you read?

HE I read GQ, DETAILS, and SHARP.

Aura Do you have any fashion icons and if so who?

HE My fashion icons are VERSACE, MARC JACOBS, DSQUARED2, D&G, Paul Smith, and ETRO.

Aura Where do you get your style inspiration?

HE I get my style from me, but I do try and get some other ideas from celebs like David Beckham, Colin Farrell, and Will Smith.

AuraHow do you put outfits together? What’s the process?

HE I put my outfits together always the night before - I think about where I am going what the dress code is and I lay 3 to 4 different ideas out and the winner stays out - the losers go back in the closet -

about designer clothes?

HE Well A) it is the quality B) the fit C) the comfort - I never have bought anything just because it’s designer - I think about all the above and everything goes through my head before I make the purchase.

AuraDo you ever help your friends shop or put outfits together?

HE Yes - I always do and always will - they always ask for my opinion and I always give them my honest opinion - I have dressed up many of my friends for a night out - or for a wedding - Funny thing is some [friends] if I am not with them and they are shopping alone, they will take a picture of what ever item it is [they are debating on] and send my way, and wait for a response [before they’ll buy it].

Aura Would you consider yourself a stylist?

HE Yes I would because of my love for fashion, my understanding of fashion and the many years experience dealing with fashion designers and dressing up and down.


Aura Would you say it’s a skill you’ve learnt or it just comes naturally to you?

HE I would say it [comes] natural to me, but it’s also a skill as I have picked up some skillful ideas along the way - and always will.

Aura What one piece of advice would you give to others about clothing in general?

HE My one [piece of] advice I would give anyone is [to] make sure you are comfy in what you’re wearing and don’t wear anything too big or too small just because [it is] designer or it’s in style... you don’t want people laughing at you!!!

Next time your standing in front of your closet, fighting with the hangers, wonder-ing what to wear, flip open the latest issue of the near-est fashion magazine, take a look at the eight page fashion spread, and look to see what colors are used, what shapes, what fabrics. Learn to rein-vent what you have to work with. After all, fashion con-stantly reproduces itself. And you can thank the Stylists for their help later…

-DG


I consider myself a stylist because of my love for fashion, my understanding of fashion and the many years of experience dealing with fashion designers and dressing up and down.

“

”


www.brainspills.com

This is Adam Fraser.

brilliant.

talented. creative.

bold.

sleek.

visionary.

daring. expressive.

loyal. d i r e c t i v e & e a g e r .

www.brainspills.com


Designer: Elixir JewelryMake Up Artist: Krisitina WoodsModel: Marlee Watts

“There’s no need to play

a fashion victim when you know

you are the heroine.”

-AURA Fashion Magazine


Designer: Madame WolfPhotographer: Laura ParryMake up artists: Alanna TrippModels: Brooklyn Hammel and Sarah Hibberd


Northern lights are not exclusive to the night

sky. Metallicas of silver, blue, green, and purple

come alive this Fall for a night out in the city.

AuroraBorealis


Model: Amara Nwaroh

Inspiration is often an important aspect for anyone that is creating any art form. Inspiration is personal. A designer could be inspired by the city they live in, other cities, music genres, the vibe, or celebrities. Inspiration also might come from a life changing event or just the need to create something to express one’s own personality. All designers want their collection and pieces to be special and standout. A designer may choose to follow current trends, or come out with something new and funky that they find appealing. Fashion and design are subjective, for not everyone has the same taste or fashion sense. Coming up with a new collection requires a lot of inspiration, and often takes about a year and a half. While fashion shows only take minutes to illustrate an entire collection, a lot of blood, sweat and tears go into making everything perfect for the show. Therefore, inspiration is extremely important in the design aspect. A designer often fails to succeed when inspiration is lost, which is true of many artistic or creative professions. Staying motivated is important for every designer. Having a successful collection that sells is a motivator for many designers. Making money is also a motivator. And ultimately passion for the fashion industry is another motivator.

Everyone in the fashion industry needs a strong support system. It always helps to have a following. This is true for any person that is in business. We all want to know that we are providing something that is in high demand and appealing

to consumers. Designers need local stores and boutiques that are willing the sell their clothes, exposure through the medias and if they are really lucky, Fashion Television. The more exposure a designer can get, the more likely it is that they will be successful. Without support and buyers, the world of fashion can be really tough. Often even established designers that have their product put in large retails stores run into problems if the articles are not selling. It is obvious that the fashion industry can chew you up and spit you out, but that was no reason for Marc Jacobs, Donatella Versace, or Valentino Garavani to hang up the towel. In the words of Thomas H. Palmer, “if at first you don’t succeed try, try again”.

-RB

Sketch work by Paul David



Sketch work by Kaitlin Embury

“This is AURA Fashion.This is

what we do.”-AURA Fashion Magazine

“

”

aura fashion magazine

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