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ISSUE 16 October 2015

An independent magazine aimed at bringing the works of the young and talented to the whole world.


You WILL be rewarded a copy of Garde Magazine Anniversary Issue!


An independent magazine aimed at bringing the works of the young and talented to the whole world. Believing in ideas, thoughts and concepts, Garde Magazine follows the principle of simplicity and honesty.

Founders Cleo Tse Natasha Chan

cleo.tse@gardemagazine.com natasha.chan@gardemagazine.com

Creators Alex Morariu

Jessica Rouse

Contributors David Madsen

david.madsen@gardemagazine.com

Kalle Ă–stgĂĽrd ODKST

Special thanks Journal Collective

Maria Evrenos

Sebastian Popa


Content Jessica Rouse Menswear Footwear Who doesn’t like shoes?

Alex Morariu Interior Design

A hunger for creativity

What is it... Industrial Design Sebastian Popa

A look into the bowels of modern horror David Madsen

Story teller ODKST Kuro Ex Machina - Chapter 4


Jessica rouse menswear Footwear

Who doesn’t like shoes?


M

ention fashion and most of us will picture flamboyant and impractical outfits on a catwalk or the sleek, slick shapes of black jackets and pants. But fashion is not limited to boundary-pushing monstrosities or stylish suits – in fact, every conscious choice of clothes has one very important factor that is as practical as it is visual: The shoes! Enter Jessica Rouse, with a bachelor from University of Northampton and recently masters degree graduate from London’s Royal College of Art, she chose to use the Menswear programme to explore and experiment with footwear. “During my BA I worked on quite a few menswear projects. Menswear is such an interesting area, it’s a growing market where there just seems to be so much potential to push creatively. It just felt like the right fit for me as a designer. In footwear and accessories, the structure and design aesthetics have to work in tandem much more than in other fields and

you really have to design around the foot.” She added: ”I think it adds the ultimate finishing touch to any outfit and what girl doesn’t like shoes?” During her bachelor degree, Jessica focused on womens footwear and accessories. It taught her valuable skills like pattern cutting and Illustrator (a digital drawing program). Digitalism continues to be a running theme in her work, for example, as a tool to express the mathematics found in nature. “Mathematical and natural forms are intrinsically linked. You can find mathematical forms and shapes throughout nature. That is what makes it so exciting and interesting. Mathematics, in its most basic form, is considered very linear and computational but, in truth, mathematics is more an art form in itself. My family


Jessica Rouse Her graduate masters collection was inspired by mathematical theories and natural forms. The collection comprises of 8 menswear shoes and two objects, and involves working with metal, stone, silicon, leather, 3-D printing, CNC milling and casting. Jessica wanted to create a refined luxury within her designs by blending different materials together, and focussing on creating small intricate details within the designs. Jessica collaborated with Katharina Dettar, in creating the stone agate pieces within the collection, and also worked with Weilong Xie in generating some of the rhino forms. The collection was photographed by Darek Fortas.

I don’t find footwear limited at all, there’s just as much room for creativity as in other areas of design and all have their own limitations. -Jessica Rouse


mainly work in science and maths, so it’s always been something that intrigued me. I bought a harmonograph, a children’s toy that uses weights and velocity, to draw mathematical pictures. It was mesmerising and it just evolved from there.” As her work shows, Jessica is not limited by any one material, but rather seems to thrive from trying out different colours, textures and shapes – pushing the

boundaries of what many of us might not think of as an easy subject for creativity. “I don’t find footwear limited at all, there’s just as much room for creativity as in other areas of design and all have their own limitations. Consider a chair: both the shoe and chair have to be able to support a person’s weight and both can be equally beautiful; nobody would consider interior design or product design as lacking in creativity. So, transferring my ideas and adapting my sources of inspiration follows exactly the same process as for other areas of design,” she said.

“I use a huge variety of materials in my work. I love working with


different materials and blending them. Each is chosen for it’s individual aesthetics and properties. I use silicon for its flexibility, and certain plastics for 3-D printing, which allows you to create shapes that could otherwise be extremely difficult to manufacture. There is a huge variety of specific manufacturing techniques depending on what you are making; for example, producing trainers are completely different from producing brogues.” When someone designs something as hands-on and usable as shoes, one of course gets curious if the designer would make something for their own use. Jessica has thought of this as well. “We design what we like, so yes, I definitely would wear some of my creations; although, I’d possibly opt for a more unisex shoe, such as one of my

trainers, rather than one of the formal menswear shoes. I do have a pair of shoe lasts (the solid form around which the shoe is produced) in my size, so I might get around to making a pair just for me one day...” That aside, Jessica does not have a dream project - “The dream project, for me, is simply the next one,” she said. However, as a creator, she has broader goals: “I think as designers and makers, we have to be aware that the world doesn’t need consumerism, it needs more responsible design. So with that in mind, I want to create things that are beautiful and lasting, thing’s that will be treasured rather than just discarded.”


Alex morariu interior design

A hunger for creativity


M

orning sunlight reflects in a dreamy lake and shines into the double-height room, washing out details and almost making us shield our eyes, even though it’s just a picture. The space is curious, with a high ceiling, wooden walls and a gaelic-patterned window frame. A spiral staircase spans several levels and the ceiling is propped up by a massive wooden arch. Outside, the curiousness is even stronger, with a rich palette of stone, wooden hexagons and a thatched roof. With ears! This fanciful little tower has a very normal use, however – it is a miniature hotel and the graduation project of Alex

Morariu, a Romanian interior designer and allround creative tinkerer. Browsing Alex’s portfolio, it’s clear to see he has a strong creative hunger, and is not afraid to try many different things. Although he describes himself as more creative than technical, Alex recognises that one can hardly exist without the other, and most of his projects are born out of the digital – 3D modelling, photoshopping and even 3D printing. His high school focused on economy,


though it seemed Alex’s design nerve could not be suppressed – and coming from a “family of interior designers and art lovers,” it is perhaps only natural.Via a job as a salesman at a Romanian interior design company, Alex found himself in a four-year course of Interior and Environmental Design at the Duncan of Jordanstone College in Dundee, Scotland. It was here he graduated with the project described above.

The dreamy forest hotel project is named “Argent Forest” after the silver birch of the area – a secluded forest next to a Scottish Loch. Alex worked with the local Forestry Commission to make sure his design was sensitive and nondestructive to the unique area. “I chose this project because it seemed like the culmination of my university level thinking and design admiration. I wanted to pour the sum of my artistic emotions towards the purpose of creating


something that is friendly, doable, more sustainable and local, but also unique and with a sense of slightly unreachable grandeur.” Understanding the local context is important and from his upbringing in historically rich Timisoara a city of “hushed streets and forgotten structures,” to travelling throughout Europe, Alex has tried to understand the patterns and art of his surroundings – ultimately hoping to create “a new, more diverse and more sustainable design movement” than the current modernism. With this humane attitude to architecture and design, Alex’s current main interest is the spaces of living – hotels, but also residences. “In my world, they go hand in hand as they both accommodate the person, delivering a unique experience for a given period of time in a very private, almost intimate way.” When asked what his most crucial concern is during the design process, Alex says the notion that he might not like the final product

intimidates him the most. “For the duration of the project I had many opinions from everyone I knew and they all cancelled the ones before and after. So my concern was that I would not get to what I truly wanted after this storm of ideas.” When asked about dream projects and the future, it’s hardly surprising that Alex has many answers ready. “My dream project would be to be able to create a trend of friendly and uniquely designed hobbit-like houses - to boost community life and create a more sustainable approach to everyday flats and houses by combining industry and manufacturing.” However, beyond residential design, Alex also mentions fashion design as a possible future project. “I find it very displeasing that people in general have a mainstream approach to clothing as opposed to being able to create their own.” Lastly, he hopes to find a friendly creative practice where he can develop his skills, work with rewarding clients, and in short: “Saving the world everyday...my way.”


Alex Morariu - Argent Forest Hotel I have chosen to design a tower cluster hotel in the secluded forest of Talladh-a-Bheithe, north of Loch Rannoch. My project project has two approaches that complement each other: One of them involves a more sustainable approach over the way structures are built in a tighter collaboration with the natural space around them while the other implies the creation of unique spaces that are able to stand out in the world and respond to local conceptual stimuli. My ideas involved the development of contemporary and customizable template constructions that strive to even the balance between buildings and vegetation as well as to create possible brownfield site restoration designs. Working in close cooperation with the Tay Forestry Commission, he was able to identify issues that relate to the tackling of responsible construction of structures that blend with the environment as well as create fewer disturbances to the plant life around them. The project that plans to solve this complex challenge is called the “Argent Forest” or “Silver Forest” which is derived from the silver birch motif. It focuses on the notion of local tourism and it provides a contemporary approach to Celtic design through the use of individual tower structures that leave room for both vegetation and interior ideas to blossom.


What is it...

industrial design by sebastian popa

Sebastian Popa - Multiply Square

What is Industrial Design to you? I see Design as a means of expressing one’s observation, analysis, inspiration and ideas with the purpose of improving the quality of life on both physical and spiritual levels.

Architecture designs buildings and construction; Fashion Design makes clothing; what does Industrial Design do?

Industrial design deals mainly with the creation of products. They can either be mass produced or small batch series or even one-offs. Lately industrial design knowledge is also used in service design.

Can you give us the best Industrial Design you have ever seen?

Simple objects that make our daily lives easier without even noticing such as: paper clips, post-it notes, band-aids. I also like the iconic designs such as the Coke Contour Bottle, Piaggio Vespa Scooter and Vico Magistretti’s Eclisse Table Lamp.

What is your first concern when you start designing a project?

My first concern is to solve the problems stated in the brief correctly. If my design is true to its function and purpose, then I feel I’ve accomplished my task.

What are the steps of an Industrial Design project? First, there is a brief/problem that has to be solved. Then comes the research phase that will inform the development of the project.


Sebastian Popa - Multiply


Sebastian Popa - Double Identity


After that comes the creative phase where new ideas are applied to the brief. The visualisation of the ideas are made through sketches or 3D modelling. Then comes the technical part, more specifically the ideas have to be analysed to see if they are feasible for production. Next is the realisation of the chosen idea which is brought to life through mockups or a prototype. Then the prototype is analysed and after some retouches it can go to production.

How would you define a design as successful or failed?

A successful design is the one that solves the problem it was created for, it is functional and aesthetically pleasing.

From an Industrial Design perspective, can you rank the following elements: aesthetics, costs, practicability, necessity of users and functionality?

1) Functionality - the object has to fulfill its function. If not, it is just bad design 2) Aesthetics 3) Costs – This is relative, as it depends on what kind of products we are talking about. If we are talking about small batch or limited editions, the prices can be higher than the competition without affecting the sales of these particular products.

Can you share your greatest insight about Industrial Design with us?

I can say that industrial design helped me better understand the world we are living in. By analysing the objects around us, we can understand a lot of things about human needs and desires. For instance, looking at the objects in a home can give us hints about the personality of the one that lives in that place. Objects can say a lot about us. Sebastian Popa - Clawless


Sebastian Popa - Ardora


Reflection A little blue sky thinking never hurt anyone. When the clouds clear away and you’re left with the vastness of possibility, the view is as clear as could be. We captured this state of mind on a recent trip to the beautiful Devon, where skies of azure and local characters encapsulated more than just a fine part of our great country, but a way of being too.


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a look into the bowels of modern horror by david madsen

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rom an outside perspective, the modern horror genre must look rather pathetic. A genre that has always been low brow and rather rudimentary, it almost seems like a parody of itself today, consisting mainly of cynically produced remakes of series from the slasher genres glory days, piss poor found footage films trying to ape Paranormal Activity and shoddy, overly dark ‘torture porn’ films like Hostel or the latter films in the Saw series. However, knowing the genre a little better, as I do, this isn’t really anything new for the genre. Even in the 1980’s, a decade that is by many horror fans hailed as the golden era for horror, there were a hell of a lot more shit than there were gold. Case in point for every American Werewolf in London there was a few dozen Howling sequels and for every good Friday the 13th film there were a gajillion awful ones. Like with all good things in life, good horror doesn’t come easy and it can take a lot of digging through the mud to get to the juicy stuff. Luckily for you readers, I’ve already done the mud digging, I’ve already found the diamonds in the rough and what better way to celebrate the month of Halloween than to list a couple of the very best, lesser known horror films from the 21st century.

Ginger Snaps (2000) Ginger Snaps is one of the few films that have successfully revitalised the gothic horror monster: the werewolf to the 21st century cinema. Instead of focusing on the age old story of man’s struggle with his inner beast, Ginger Snaps is about the relationship between the two sisters Ginger and Brigitte and how this relationship is challenged as Ginger not only enters adolescence, but is also bit by and slowly transformed into a werewolf. While the film feels very modern both in its pacing and focus on extreme gore, its atmosphere is more akin to the dour, darker horror films of the 1970’s especially Brian De Palma’s, Carrie. For a subgenre that so rarely sees truly great entries, Ginger Snaps is, with its compelling characters, gorgeous creature design and spectacular gore effects, not just a great werewolf film it’s a modern classic in its own right.


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Freddy vs. Jason (2003) Freddy vs. Jason is the rare case of a modern reboot of a 1980’s slasher series that nails the campy feel of those old classics. Like the best of the sequels to the two films this one is based on – the titular characters originate from Nightmare on Elmstreet and Friday the 13th respectively – Freddy vs. Jason knows that these franchises are build on violent deaths and iconic villains. While the teenagers are little more than fodder for our two slash-happy murderers, the ridiculous, grisly deaths of said teenagers are a riot and functions as a great holdover until the final act that sees two of the most easily recognisable horror icons wrestle it out. It’s a thing of beauty, especially if you prefer your horror to be entertaining rather than scary and unsettling. I would even recommend it to people who have yet to be introduced to the antics of Freddy Krueger or Jason Vorhees and go so far as to say that this film is a great entry point for newcomers of both series.


[REC](2007), Filmax International. Directed by Jaume Balagueró and Paco Plaza. Projectdeadpost.com

[REC] (2007) The Spanish film [REC] is an excellent mix of two very overused subgenres, namely the found footage genre popularized by The Blair Witch Project and later Paranormal Activity and the zombie genre that was modernised with Danny Boyles’ fast moving zombies in his 2002 release of 28 Days Later. [REC] makes these genres work together brilliantly using the camera’s point-of-view setting to create a sense of paranoia through claustrophobia, as the zoomedin shots and quick movements of the camera makes the quarantined apartment building the film takes place in feel as small as a shoebox. This in turn makes the fast as all hell zombies much more menacing. That’s right: This is one of the few zombie films that doesn’t use its creatures for comedic effect or sensationalised gore, but instead as a means to make its audience utterly terrified. The end sequence is especially haunting and without spoiling too much, it excellently harkens back to the end of Silence of Lambs, one of the best horror films of all time.


Pontypool (2007), Pontyup Pictures and Shadow Shows. Directed by Bruce McDonald. Joblo.com

Pontypool (2009) Another modern take on the zombie genre, this one is a standout by virtue of a very unique concept. Taking place at a Canadian radio station, it follows a day in the life of radio host, Grant Mazzy, as he slowly uncovers the start of a zombie epidemic. Instead of tackling the threat firsthand, the characters of Pontypool are relegated to listening in and commenting on events occurring in the area surrounding the station as both reporters and listeners chime in and report on these. This approach to storytelling makes it reminiscent of Orson Welles infamous radioplay War of the Worlds which transcribed the fictional events of an alien invasion as if they were an actual news report. The zombies are ultimately shown onscreen, although the nature of them and the way they are presented make them much more unnerving than your typical runof-the-mill reanimated corpse. I won’t spoil this plot-point here, but rest assured, you haven’t seen anything like this in any other film. It’s… It’s really something else.


Evil Dead (2007), Ghost House Pictures, FilmDistrict. Directed by Fede Alvarex. Newdvdreleasedates.com

Evil Dead (2013) Look I may as well come out and say it as it is. Sam Raimi’s debut film, The Evil Dead, from 1981 is one of my favourite horror films of all time. It is a pure, distilled version of horror that walks an incredibly fine line between being too campy, limiting the impact of its horror aspect and being too self-serious. It completely nails this fine balancing act, unlike its two sequels, Evil Dead 2 and Army of Darkness, which both went for a comedic, more action-y approach to the series. There’s nothing wrong about that of course as both sequels are masterpieces in their own right, but the more serious original is where it’s at for me personally. With this in mind, I absolutely adore this remake of The Evil Dead. The film follows five friends who accidentally wake up an ancient demon that starts possessing them one by one and has the same overall structure as the original. It also has a lot of loving references to both The Evil Dead and Evil Dead 2, which never feels out of place or a desperate attempt at fan service. Even darker than the original, it completely ignores the jovial antics of the sequels and instead goes for pure, unadulterated, nail biting terror. The gore and violence on display here is beyond most other films I’ve seen putting even Peter Jacksons’ hilariously over-thetop gore fest, Braindead, to shame. And while the actors are all rather inexperienced they all sell their respective roles well, making the bloody violence and terror that face them even more effective and believable. It shouldn’t be possible, especially considering the awful, awful execution of most remakes of 1980’s horror films, but Evil Dead 2013 might be as good as the original.


Story teller

KURO EX MACHINA by ODKST


CHAPTER 4

EXCOMMUNICATION We open our eyes to see a small, darkened room. An adult man is hunched over an old, wooden table. He appears to be tied to the small chair on which he sits. The man has long, greasy hair that blocks some of his face from view, but it is clear that he is blindfolded, a dirty rag stuffed in his mouth. The man says nothing. His small, deliberate breaths are all that can be heard. There are no windows in the room. Rough concrete walls surround the man tied to the chair. Behind him, a door bursts open with a loud bang. David and Dawn enter the darkened room. They are dressed head-to-toe in black, wearing black boots, their weapons – harvesting sickle and doublebladed axe – at the ready in their left hands. The man at the table flinches; his blindfolded face turns from side to side trying to find the source of the noise. David walks over to one side of the table, Dawn goes to stand in the opposite corner of the room, leaning against the wall. The man is wearing a white tank-top, covered in dirt. David tugs at it, sizing up the man in the chair. The man’s breath is getting faster, his nostrils opening and closing at an increasing rate. David takes a step back, slamming his axe down on the table. The man in the chair appears to hear it, but doesn’t flinch this time. “Do you know why you are here?” David asks. “He can’t answer, silly.” Dawn makes a face at her brother.


David doesn’t answer. He takes a step towards the man, pulling the cloth out of his mouth. The man takes a deep, grateful breath. “Do you know why you are here?” David asks again. “Who are you? What the hell is going on?” The man in the chair speaks with an accent; it is clear that he is not American. David looks at his sister. It’s hard to interpret his gaze. His pupils appear larger than normal. Dawn shrugs. David looks back at the man in bondage. “You’re here because you have earned it”, he says. “Do you know what I’m referring to?” “What are you talking about?” The man’s voice is trembling, it sounds as if he is about to throw up. “We were sent here by someone”, David says. “Do you know who?”


The man is shaking. He doesn’t answer. “Quit stalling.” Dawn restlessly lifts one boot, then the other. “Do what we came here to do.” David sighs. “Alright. But I want him to see it.” He grabs the man’s blindfold, pulling it off. The man’s greasy hair is pulled back, then falls back across his face. He blinks in confusion. It becomes clear who it is: Emil Jensen, the famous Swedish singer-songwriter. “Who are you? What is this?” He stares at David. “We are here to punish you.” David’s voice shows no emotion. “You have committed crimes, and someone sent us here to punish you.” Not-too-far-away, perhaps in the next room, a loud slam is heard. “Punish me?” Emil Jensen the songwriter says. “For what?” “You are a distributor of music that deceives and obfuscates”, David says. He bends down and starts untying one of the ropes. Emil Jensen’s arm is freed. David pulls it up onto the wooden table. It is loose and floppy, as if it has fallen asleep. David reaches for his axe.


“Who are you people?” Emil is staring at David, at his arm, then back at David. “This is crazy!” Another loud slam. “You are guilty of creating music with hypocritical, defeatist messages”, David says. “You are distributing these deplorable musical lies to a generation of young, easily malleable individuals. You also hide your lies behind a veneer of sanctimonious innocence. But we have seen through your lies.” He holds Emil Jensen’s arm firmly against the wooden table, lifting his double-bladed axe. Dawn is silently moving closer, keeping her eyes on the singer-songwriter. “Why do musicians think that they are politicians?” she muses softly. The man in the chair cranes his neck, trying to see who is behind him. He has broken out in a cold sweat. “Who is that?” His voice is rising, moving towards a panicked pitch. “For your crimes, we are going to teach you a lesson”, David continues. His tone is dry, dispassionate. He is completely concentrated at the job at hand. With his left, he slowly raises his axe. “You will be unable to play, if we free you from this hand.”


Emil Jensen is screaming. He starts bargaining with David, shaking where he sits, his chair rocking back and forth. But David’s grip is firm around his limp, left arm. “Ooh, I can’t watch!” Dawn covers her eyes, darting away from the scene. She slinks away, out through the open door behind Emil Jensen. David ignores her. His pupils are dark, twice their regular size. His movements are utterly precise, he does not tremble or hesitate at all. The axe hangs motionless over the trapped musician like the blade of an old guillotine. “Don’t! Don’t!” Emil Jensen is screaming. “Please, I’ll do whatever you want! Please don’t do it! Please!” He starts sobbing, a quiet, hopeless cry. “I don’t know who sent you. I don’t know why you think I have done wrong. Just, please don’t do this. Please. You have no idea --- you don’t --- I have to do this, see. I have to play. It’s something I need. You don’t understand --- without this --- without my music, I … “ He loses the ability to speak, breaking down completely. He hangs his head, sobbing towards the concrete floor. David is silent, pressing Emil’s free arm against the table, ready to let the axe fall. A long silence follows. Nothing can be heard except the man’s dry,


quiet sobbing. Finally, David says: “Okay. You’re right.” He lets go of the man’s arm. His own, he lets fall to his side, relaxing his grip on the axe. “This is enough.” The sobbing man slowly, slowly raises his head. His eyes, moist and tinged with red, search for David. For a long time, he doesn’t speak, struggling to regain his breath. David is just standing there, watching him. “Are … are you sure?” he asks at last, his soft, melodic voice trembling in the darkness. “Yeah”, David says. “It’s time we let you go.” “Oh … thank you. Thank you!” The man in the chair smiles, weakly, he’s pale-faced, cheekbones high, he doesn’t appear to have eaten in a long time. He makes an attempt to move his left arm. It seems to have regained some feeling at last; he lifts it from the


table and pulls it towards himself. He looks at the arm, smiling with relief. His body is pale and sweaty, shaking in its ropes. “Thank you”, he keeps saying. “Thank you.” He shuts his eyes, pressing his arm against his chest, as if to welcome it home. Then Dawn walks up from behind and slices his throat open with her harvesting sickle. His blood sprays everywhere, a crimson peacock tail unfolding, spreading across the wooden table and the hard floor of the darkened room, a wave that opens and erupts more than just the small and cramped interior of the room, more than the calm and black-clad bodies of the blond siblings, suddenly little more than mannequins, in light of the wide chasm that has been opened as if by magic. The peacock tail grows wider, greater, more impressive, washing away the bleak reality of the room, perhaps absorbing it, but really just creating the consoling impression that it has been upstaged; no longer is what we see limited to the constraints of concrete and wood, sweat and blood, or the mannequins with their old-fashioned weapons; we have lifted another veil, revealing something both terrible and amazing, we have seen through this veil … … and Kore flies triumphantly through the eternal night that rests upon his weakened shoulders underneath the starless sky, a subreal blitzkrieg is approaching from below, as motorways erupt like cracking scalps in reddish-purple light, as transparently unreal as the unveiled torture chamber … It is all at once right in front of us and impossibly distant, real enough to reach out and touch and at the same time as faintly unreal as lingering memories of last night’s dream. A prism


of light softly flickered as it spun around a disk of pale white, like a sun, in whose middle a single, black dot gave the impression of a constant iris. In another room, Eris the centipede God arranged her butcher’s knives on the long table, her crimson jelly eyes unmoving, her jaw snapping. We try to get a better look at her, but are instantly pulled back; we pull back and back and back, the speed of a freight train, to reveal a man, standing alone, nowhere in particular, his head a boulder of cracked rock the color of lead, almost the size of its body, from whose many crevices silver waterfalls flowed elegantly. The place is empty, the man standing still in a soft mist. But towering high above it all is a being like something from a fairy tale: a slightly mechanical man-beast, disfigured and hunchbacked, standing on legs like tall wood pillars, lumbering forward at the speed of a snail, slowly, slowly making progress, its one eye staring numbly into the distance as disembodied thoughts echo in the collective unconscious: It has to die. It has to die. It has to die.

<Thatâ&#x20AC;&#x2122;s it?> <That is it.> <I like it.> <Me too.>


To be continued.


Creativity Itâ&#x20AC;&#x2122;s been said that some of the greatest creative sparks fly over a coffee for two. We would be inclined to agree after a drive down to the stunning Bath where amidst the choice of quirky local cafes and restaurants we found a city steeped in history, vibrant arts and playful brickwork that dances upon the cityâ&#x20AC;&#x2122;s historic walls.


Our aim is to help businesses and individuals who do not have the time or resources to create their own imagery. We are constantly gathering new props and our in-house studio uses glorious natural light making our photography one of a kind. Journal Collective was born with a high aesthetic in mind. We offer an ever growing stock catalog with our distinctive look as well as offering bespoke shoots (without charging the earth). Find us at: http://www.journalcollective.com/


Visit our website to find out more: www.gardemagazine.com


Garde Magazine #16  

From where you live in and what you wear on, #16 comes with creativity all around you.

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