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December 2014 ISSUE 8

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

Copy Editor Marie-JosĂŠe Kelly

Creators Alexandra Gromova

Margaux-Alix Gardet

Susan Holtham

Rosie Connolly

Yuki Teraoka

Contributors Sage Basilio

David Madsen

Special thanks Julen Hernandez Karl Ă–stgĂĽrd Lensational

Editorial Merry artsy and creative Christmas everyone! It has been 8 months since we launched and we simply couldn’t be happier. We are very excited to bring you presents for this lovely festival and you don’t even need to wait until Christmas to see them! First of all, in this issue we are proud to have Susan Holtham, the founder of Smash Bang Dollop. Susan is a wonderful and courageous lady who was brave enough to pursue her dream after switching her full-time job to a part-time one – just to make creative cupcakes. The beautiful cover of this magazine is an example of how delectable her work is! We for sure have a reason to wish you an ARTSY Christmas too. Two of our creators, Alexandra and Rosie, are both from the field of Fine Art. They each hold their own specific kinds of creativity that explain Fine Art in brand new ways. And there is Yuki who shows his environmentally friendliness in interior and spatial design. Excited yet? Secondly, to fill up your stomach even more, we are presenting you with extraordinary dresses and accessories designed by Dress In Print, a local fashion print brand started up by Tania

Cheung. The collaboration with Garde Magazine and Dress In Print means: Garde Magazine’s readers have discounts on shopping in Dress In Print. So get yourself prepared, ladies! This is also the first time Garde Magazine is reporting on the charity organisation Lensational. We have exposed our content on this beforehand because we tried to help raise funds. Congratulations to Lensational for the success of fundraising. Let’s see from the backstage how it works to empower women and photography. Last but definitely not least, popular YouTuber and creator from issue one, Julen Hernandez, grandly returns to tell us what actually happens when you’re a YouTuber. Is it pleasure to be so popular or pressure to have so much expectation? Again, we are very happy to spend the very first Christmas with you and we are longing to keep you coming for more next year. Happy reading, Merry Christmas and Happy New Year from Garde Magazine!

Cleo & Natasha

CONTENT Susan Holtham // Cake Design A sweet tooth and a sweet heart

Rosie Connolly // Fine Art Clay creatures

Yuki Teraoka // Interior & Spatial Design Beyond the ‘general store’

Alexandra Gromova // Fine Art

Visualising the invisible, untouchable and intangible

Up and coming - Dress In Print When fashion meets art

Up and coming - Lensational A shot at social change

What is it... YouTuber A way to influence, enjoy and learn

A sweet tooth and a sweet heart Susan Holtham Cake Design

Who wouldn’t want to be friends with Susan considering the non-stop supply of cakes and sweets? “I’m continually trying out new recipes [of cakes] and forcing them on friends and neighbours!” Susan Holtham has been a self-proclaimed amateur baker for the past four years. She decided to take a chance and make her full-time job part-time, while dedicating the other part to her cake business. “Although I know it won’t be easy, I’m really excited about the

future. I aim to expand the output of the business and refine areas to develop for the kind of business that I want to have,” says Susan. Her business, as she calls it, is a micro-bakery, which is described as “one which has fewer than ten employees and a turnover or balance sheet total of less than €2 million” by the United Kingdom definition. Behind the scenes of all the beautiful cakes and cupcakes, is a home kitchen and small-scale production.

Susan loves sweets and has

been baking since she was a child. Her parents were open-minded and gave her free-reign in the kitchen. She is quite determined and knows how to plan ahead. The only question that trips her is: what desserts do you like the best‎ if you have to choose? “This is a hard question! I love vanilla and berry based desserts, a berry frangipane tart with clotted cream ice cream would be heaven. Or any ice cream to be honest! I love creamy rather than chocolate-y things…” She’s been carefully planning ahead before completely resigning from her other job. “I’ve built a small but loyal customer base and a new, independent café opened up locally this summer – working with them to supply their cakes gave me the push I needed.” Smash Bang Dollop is the name of Susan’s cake business. She explained to us how she came up with the name and how the Pop movement inspired it. “I love to experiment with bold and interesting flavours without being too fussy. I started to think about the ideas behind comics and graphic novels – such as fantasy, superpowers, explosions and nostalgia - a few puns later and Smash Bang Dollop was born!”

Although Susan has more flexi-

bility in running her business now, it is still a big task. She starts early in the morning and prepares all the orders she has, which includes delivery to the café and a local market. She spends the rest of her day doing social media work and research and usually ends it by prepping ingredients for the next day’s bake. Susan shares one of her most impressive orders with us. “I recently made a huge rainbow cake for the independent British jewellery retailer Tatty Devine with less than 24 hours notice to celebrate their 15th birthday. I absolutely love their style and so although it was a tight-turnaround, it was a dream come true!” Smash Bang Dollop does not have a physical shop. Susan relies on social

media, which has become a crucial tool for the self-funded business. Even though resources are little and it will take time to see any kind of profit, Susan enjoys every minute of it. “I’m really enjoying the new found time I have to put real effort and energy into it, meet some more like-minded people and make some new connections whose job it is to love talking about food!” In the future, Susan is targeting more weddings, corporate orders, creative commissions and a brand new online ordering website. We asked her if she had a piece of advice: “If you’re thinking of starting up a business, the best advice I’ve been given is: just do it!”

Clay creatures Rosie Connolly Fine Art By Kristine Sage

“What I find intriguing is the transformation of something that is perhaps seen as grim or ‘grotesque’ into something beautiful, distinct and new. The contrast between the delicate treatment of the surface, the material, and the form itself create a friction that is intended to generate a dialogue and a different way of viewing things.” Rosie Connolly’s work has received nothing but great reviews in her field. Her journey in the career of art was influenced by a roller coaster ride of no limits. Throwing herself into the world of ceramics was not always her ultimate goal in life, but the path that brought her there makes an extremely great story to tell. Garde Magazine sits down with Rosie and shares her story. Why didn’t you choose ceramics in the beginning? When I was applying for my BA, I was a dedicated painter, I had always made paintings. But my foundation course had a ceramics room that really piqued my interest. It was full of different clays, chemicals and equipment I had never seen before. The summer before I started at Chelsea, I enrolled on a short course in ceramics and was

captivated. Influenced by this, my paintings slowly became more sculptural and full of texture. I added sawdust, sand, plaster and anything I could find to mix with the paint. I soon realised that I could not achieve what I wanted in paint and threw myself into ceramics. I think studying ceramics in a fine art context was extremely beneficial to my practice. It really pushed me to experiment and test the boundaries of the material. I felt as though I wasn’t bound by any limits, I could use the clay in any way I wanted to. It fuelled my interest in the significance of the display of artwork, as the impact of the museum is deeply ingrained in ceramics.

Is there any other media that you like to use? I made some work in bronze during my degree, cast from a clay sculpture and some pieces cast in wax. I liked the clash of different materials shown together. It undermined the presumed preciousness of the ceramic pieces, adding a jarring feeling to the installation. I would definitely like to take this further and explore working with different metals. Currently, I am thinking about incorporating glass into the work somehow, that is the next challenge. Tell us what you have learned as you reflect on your creations. There is always more. A project is never really finished; it develops and feeds in to the next. I remember my tutors telling me ‘the final show isn’t final’ and they were right. Likewise, there is always more to know, to find out. Always dig deeper. In what ways do you think clay represents you the most? Clay has completely transformed my work. I am able to realise things in clay that I could not properly express before. The process of making in clay is slow, disciplined and methodical. When I was painting, I often found that the speed with which it allowed me to work could be detrimental to what I was trying to achieve. I would act rashly and, in my view, ruin a piece with a few brushstrokes. I did not think I had any patience until I started to work with clay, when I found it was infinite. Working in clay makes me carefully consider everything I do, each mark, each twist, and each feather. Do you like animals a lot? I do like animals! Particularly birds, I am mesmerised by their vibrant colours, feathers and the fact they can fly. They are so strange, as though from a different time. I

Clay is central to my practice. It has an undeniable physical presence. The rawness of clay in its dense, matte state makes it so distinct, engaging and touchable. It is something that can be sensed by a kind of virtual touch as well as visually. The possibilities offered by the material drive and inspire my work. Its tactility and plasticity mean the making process is immediate and instinctive. This is reflected in the intimacy I feel with each piece, something I aim to reproduce in the interaction with the viewer.

The ornament of historical architecture and interiors alongside textural details found in nature has instilled in me a keen interest in the ceramic surface. The visual depth offered by different techniques enlivens each piece in a unique way. I have recently been experimenting with carving individual lines of texture in to different slips painted onto the clay. The repeated detail creates a feeling of movement and fluidity, animating the form.

My experience working with ceramics in a fine art context has instigated my engagement in the supposed divide between art and craft. I am interested in the way that ceramics can traverse this apparent disconnect through the treatment of the material and the specific display of the work.v

Ceramics has an enduring connection to the museum and this has become an important consideration when I begin making my work. An integral part of my practice is the use of display in this way to heighten the experience of the piece by the viewer.

suppose with their close links to dinosaurs they are. Foxes are of particular interest to me too. Their prominence in myth and folklore give them a mystical quality, whilst their presence in towns, cities and on the roadside gives them the appearance of outsiders. Your works are mainly based on animals, why is that? I find animals fascinating. They are so other to us, but so easily imbued with human qualities. Using animals in my sculpture is a way of exploring human concerns from a removed standpoint, not unlike in Aesop’s fables. The heightened extremes in the lives of animals epitomise the physicality I want to portray. Also, they are mainly laid on the ground. Why? I am really interested in the somatic qualities of clay, how it relates to and reflects the body. So in my sculptures, I want to portray weightiness, a sense of gravity. The pieces have a feeling of stillness, whilst also seeming to be on a tipping point, on the verge of something else. There is a subtle tension. I like the idea of a graceful slump or an elegant crash. Could we ask why your works are mainly monotone? I used to use a lot of different colours in my work, mixing up matte, dry glazes to apply to the sculptures. But as I have continued, I have found that fired clay in its original raw state, is so tangible and corporeal. It is far better suited to what I want to portray. Using glazes and lots of different colours adds decorative aspect to ceramics, something that I think detracts from texture and form of the work.

Is there a unified message that you want to convey from the animals? I don’t know if there is a unified message per se. I am interested in conveying a physical awkwardness, a collapse, and a frailty in the forms. There is vulnerability in the positions of the pieces, almost helplessness. What is your next project? At the moment, I am planning on expanding some of my sculptures, like the swan and the small birds in ‘Flock’ into larger series. I think the way multiple works can relate to one another through how they are placed is really thought provoking. They can form a spatial narrative as the accumulated carved lines of texture form each piece and, in turn, each piece forms the installation as a whole. What is your future plan? The possibilities seem endless right now. Since graduating, everything is wide open. I have my studio at 318 Ceramics in Farnham, where I am busy building up a body of new work. It has been fantastic, I was worried coming out of university that I wouldn’t have anywhere I could continue making my sculptures, as working in ceramics I need more than an empty room as a studio. I want to keep making, keep creating and to start showing my work. At some point in the future I would like to continue my studies. I am looking for opportunities to make some work in response to a particular museum or collection and exhibit it among the original pieces, enlivening and reanimating them in a new context.

Beyond the ‘general store’ Yuki Teraoka Interior & Spatial Design By Karl Östgård

From the top of a glass highrise, roots and branches of a humongous mangrove tree cascade towards the ground, eager to spread outwards into the city. Military helicopters circle warily around, unsure how to handle this large-scale infestation. This is not science fiction, however – this is the artistic starting point for one of Yuki Teraoka’s interior design projects. With two interior-designer parents, Yuki’s path might seem like it was set from birth. Growing up in Japan, his two best friends were “Lego and the very old Apple computers.” He preferred drawing to taking notes in class. However, his way to the field was not as simple as just following his parents. He actually says his calling is furniture design – interior design is just the logical expansion of that field: “I found that good furniture not only stands out as a piece of art but also harmonises with the interior at the same time. I needed to understand the spatial relations to furniture, in order to create outstanding, yet harmonious work.” “My parents are not the kind of people to give me clear advice whenever

I want. Instead, they are more likely to put me somewhere I have never been before, making me take any necessary means to figure out the way home myself.” But back to the big parasitic tree. Believe it or not, but this outlandish scenario is actually the result of a collaboration with a developer about designing the interior of a student accomodation on the high street of Stratford in the UK. Inspired by the bleakness of the area, Yuki felt that an infusion of life was needed, like a plant growing up from a crack in the sidewalk. In this case, an unidentified life-form would be introduced, slowly taking over the area like a fungus or bacteria, its starting point and nerve center at the top of the student housing itself. Now, before you get worried on behalf of the

developer who has to build the natural elements and the overall project, this is actually how Yuki’s spatial idea, remains the same. design process works. “Since it is really a “My ideas tend to be fictional work, things like the really unrealistic at first. The scale and growing speed [of the reason for this is if I choose to plants] might not be realistic, start from a realistic level, I am though these are actually based capping myself not to go crazy, on real facts. Some plants do which in turn means things get grow a lot within a week and mediocre, and the solution for the dominating process is takthe building process will be easily ing bacteria as an example. The found. There is no innovational structure of the building is based achievement within the existing. on a tree, therefore I tried to I love innovative and stimulating make the building breathable by experiences, so I don’t mind how having wind circulation through much I struggle in the process. the whole building’s interior, so it In fact it is rather fun, because I doesn’t interfere the natural flow know the outcome will be some- of the environment.” thing extraordinary.” The Star Wars movies Looking through the might have tempted young Yuki design process, you can see how to become an astronaut (a dream the wild, scifi-ish collages behe has since then more or less come more and more realistic, given up), but he can see many but still maintain the original idea exciting futures in his current – the expressions of growth and field as well.

Yuki Teraoka - The Seed The project was about designing the interior of the student accommodation collaborated with Alumno Developments. The site is located on High street in Stratford where it is connected to central and there are huge shopping mole and Olympic park near there. My concept was to create a living building by implanting an unidentified living form, inspired from natural elements like plants, fungus and bacteria, to slowly take over the area to revive the surrounded environment since buildings around seems to be dead although these are close to one of the main street.

Idea concept of The Seed

“Interior design is often referred to as the ‘general store’ of the design practice, because you learn so many different kinds of stuff. You can even learn programming if neccessary, which I am working on right now for my project. Since anything can exist in a space, the amount of possibilities you can achieve are countless! And it is not only about 3D, there are lots of dimensions that are intricately interconnected. Let’s take people for example. They not only occupy the space, but their thought, behaviour and consciousness are also flowing through the area.” Within his field, Yuki can see three distinct possibilities for his future: game design, stage design or movie set design. Yuki likes games, and they can be played at home, he likes the stage as he himself plays an instrument and he likes movies, especially the way visual effects allow you to create almost anything.

But his ultimate

dream is much more unconventional: designing a new educational system for Japan. “I want to do this is because I really wish I would have learned these technical skills when I was young. Imagine if all the kids could learn what they like at a very early stage. How may things could they achieve in the future? Kids are born to learn. Look at babies, they even put things in their mouths to learn what it is. So what is killing their passion of pursuing knowledge? The answer is easy because we’ve all been through it.” Yuki’s long-term plan is to get into the London design scene and pick up enough experience to start his own design studio. He is currently working on three projects – a year project for his final year show, a collaboration with the architecture and engineering firm Arup and an exhibition called “Roots” about discovering what your roots mean to you. Lastly, he hopes to discover more about beauty in seamless harmony.

Visualising the invisible, untouchable and intangible Alexandra Gromova Fine Art

Alexandra Gromova is a figurative painter of unseen human experiences. Her paintings are based on human emotions, memories and dreams. “I am attempting to create a story, which has no words but is represented by an image,” she says. Born in the Soviet Union, Alexandra says she is nostalgic about her childhood. “It was about happiness and innocence”- emotions that she can only remember about a country that one day suddenly disappeared. Alexandra is indeed a dreamer and says she is constantly between reality and dreams, which is perhaps why she can capture the invisible, untouchable and intangible in her work so well. She studied economics instead of art so that she could earn money. “When I was a child I used to take painting

classes. Unfortunately, after school I had no chance to study art,” she says. “Then later I took some classes with a quite famous Russian contemporary painter, Stanislav Svetochenkov, and studied academic drawing in the Russian Academy of Arts.” It was only five years ago when Alexandra decided to make her “journey into the absolute unknown” and move to London where she knew no one. “I was afraid but I encouraged myself by saying that I could always go back home, but I didn’t and my permanent home is now London,” she says. It was in London that she studied Fine Art at Chelsea College of Arts. Her artistic style Alexandra describes her work as “honest, deep and philosophical.” She was inspired by people when she started figurative painting. “We [people] are all so different but at the same time we are alike. We all breathe, feel, love, hate, suffer etc,” she says.

Alexandra Gromova - Burnt

As a painter, she is inspired by both silence and solitude. “They are so deep and magnetic and I just can’t overlook them,” she says. But the person who inspired her the most

Alexandra Gromova - Tightness

For me, it was interesting to experiment with transparency as it connected with silence, invisibility and immateriality. However most of my other earlier works and my current ones - are made on canvases using oil. Each work is a story for me.However, for me art is open for discussion and everyone perceives a piece of art in its own way and it differs it from politics for example- to raise a thought or discussion rather then persuade observers.

was her mother. “She taught me not to be afraid of anything and just go ahead. She was a very kind, goal-oriented and talented person,” she says. Alexandra is also fascinated by orthodox icons. “I like to visit cathedrals, not only orthodox ones, as they all incorporate spiritual aura,” she says. “I can observe Orthodox icons for hours, as they radiate mystery and create enigma. I like Frida Kahlo and Edward Munch, as their paintings are reflections of their lives – sadness, sorrow, and pain.” Alexandra also occasionally writes poetry or short prose, which she describes as “pretty much as philosophical as my paintings.” During her studies in London she also experimented with ceramics and other media, yet painting was her “uncontrollable desire.” In fact, she says “I would not be able to survive without it.”

How she paints Alexandra says she needs a special atmosphere to paint. “Being hidden from everyone, being in absolute solitude in order to communicate purely with my paintings, being alone and being in silence helps me to draw moments from my memory and make them present. “Ideas come unexpectedly, that’s why I sometimes think that they come from somewhere above, maybe from the Cosmos. Or maybe because I do a lot of research, it is all in my memory and then it is processed and I get feedback,” she says. “The next step after getting an idea is selecting and making sketches. Quite often after editing the initial idea the drawing stops working at all. If it works I start to work on the final image. However, occasionally I complete a piece of work, I look at it and understand that

I do not feel anything from it and so I put it straight in the rubbish bin.” Through her paintings, Alexandra says her main message is about the “value and influence of our intangible lives – feelings and emotions. The invisible experience, which lasts in our unconscious: memory or dreams,” she says. “My way of thinking is influenced a lot by my country, my background: Russian culture, history, and mentality.” What she paints Alexandra enjoys painting Russian orphans. “When I look through photographs of orphans some of them immediately catch my attention and I just want to paint those children. They magnetise me,” she says. “It’s what I meant earlier about silence and solitude. One of my works, which is called “A girl” (2012) and

Alexandra Gromova - Frozen Flower

another “Frozen Flowers_1” (2014) are some of my favourites. Sometimes I am even afraid to look at them as they talk to me. I find them incredibly powerful.” Alexandra says her art is all about honesty. “I am not trying to please someone with my paintings. It is more to do with creating a sensitive experience for the viewer. I am satisfied when my paintings evoke an emotional resonance. They are more about a silent shock without the representation of visual horror.

“There is too much artificiality in our lives. Lies, fake emotions, created feelings, artificial words,” she says. “Honesty touches deeply. In my opinion, only capturing sincere emotions or experience in my paintings creates uniqueness. It is also important for me to be honest with myself,” she says. Alexandra is currently I working on a series of paintings for her next exhibitions.

Alexandra Gromova - A Girl

Up and coming

Dress In Print When fashion meets art

Dress in Print has been paving its way through Hong Kong after returning from the United Kingdom. The designer behind the brand, Tania Cheung, shares the same vision as Garde Magazine: to cherish creativity in all creators and push the boundaries of fashion design. How do you define your design in terms of style and print? I wouldn’t say there is a certain style or frame towards my design because I collaborate with different artists each season and I have a

different product ranges each time. Therefore, it really depends on whom I worked with and since the inspiration sources are so diverse, there is no restriction or a particular set of styles with Dress In Print’s design direction. I really love to give happy surprises every time I launch a new collection. How did you come up with the idea of collaborating with other creators? My past experience in the fashion industry helped to build connections with

artists from different fields such as illustrators, photographers, calligraphists etc. It’s also these talented people who inspired me to have this idea. There are very little opportunities out there for young artists but so much potential so I want to make good use of it. I interviewed our collaborative travel photographer and she said she would have never imagined her work being a fashion print on fashion garments. It was just something she loved to do and all those lovely images were just sitting on her blog up until then. Personally, do you have any kinds of prints you want to do? I have different a kind of emotion every time I finish a collection. One of my hobbies is browsing online portfolios on Instagram, Showtime etc. It is so inspiring! I will usually stumble upon an image and I will know it is what I want to work with next. It is like there is some kind of attachment or a flash image of ideas. How is developing your craft in Hong Kong going for you so far? It’s been tough and there are so many things left to learn. It is completely different from what I have experienced in Europe. However, I see poten-

tial in this market and Hong Kong is a very productive city. How did you gather the courage to start your own studio in Hong Kong? I have always been fascinated by prints and given that fashion design is my foundation, a fashion print label seemed to be the best direction for me to start off with. Hong Kong is a great place for resources and efficiency. I believe this is a potential place to kick start building an art community and spreading our message. Can you compare the overall feeling between Hong Kong and the UK towards young designers? Dress In Print - Rainbow Deer

The design atmosphere in Hong Kong is more reserved compared to the UK. I feel the design direction is very framed and is less open-minded. In the UK, we are encouraged to be dramatic and be brave, whereas in Hong Kong, I feel like it is more structured and commercialised. People are less likely to be experimental in design due to the local market needs. What kind of creator do you want to collaborate with the most? I am very open-minded to working with all kinds of creators; I am looking for designers with a different knowledge base as myself. We have so far connected with illustrators, photographer, musicians, calligraphists etc. What is your next project? Our next project is about how to make fashion move with music. We want to stick a beat into the audience’s heads when they see our products. We are experimenting on a new printing technology with fluorescent ink.

Up and coming

Lensational A shot at social change

By Marie-JosĂŠe Kelly

What better way to encourage social change and development than through art? Lensational, a global social enterprise, works to empower women in developing countries through digital photography. It all started in Istanbul, in 2012, when Bonnie Chiu crossed paths with a stranger. The young girl she ran into asked if she could have a look at the camera Bonnie was carrying with her. “She’d never had the chance to use a camera before. The sheer joy on her face as she learned how to use one

inspired me,” says Bonnie. Following the encounter, Bonnie established the foundations of Lensational along with three of her university classmates. Since then, the non-profit organisation has trained 150 women in Hong Kong, Myanmar, Pakistan, the US and the UK. “Photography transcends geographical borders and is a universal language. It transcends illiteracy and this is especially important for women,” she says. Of the world’s 774 million adults who still cannot read or write, 64 per cent

are women. This restricts their access to information, education and public debate. Bonnie explains that Lensational aims to work mainly with 13 to 15-year-old public school girls because it is a critical time of value formation. Through this, they hope to then reach out to their mothers. “Photography would allow these women to overcome social isolation and earn extra income, alleviating economic dependence,” she says. Lensational conducts photography workshops with

the ultimate goal to raise global awareness of gender issues. “Having attended an all-girls school for my primary and secondary education made me become more acute to the gendered nature of poverty and inequality,” says Bonnie. “Having relatives in Mainland China and Indonesia made me see how particularly acute gender inequality is in the developing world.” Earlier this month, Lensational reached a crowd-funding goal that will enable them to equip 60 Pakistani women and their families with digital cam-

eras and photography training. “Wherever the need for women empowerment exists, that is wherever we will be.” The project to equip women permanently in Pakistan was launched following Malala Yousafzai’s Nobel Peace Prize win for her education rights activism and her struggle against the suppression of women. On December 16, the world was reminded that the fight isn’t over.

What is it...

A way to influence, enjoy and earn


YouTube is one of the most renowned channels of social media and information exchange nowadays. As an open platform, the distributed content is varied because of the diversity of contributors. Julen Hernandez is one of them. “YouTuber” is an occupation derived from the popular video platform. It produces many opportunities to get exposure; it seems like everyone wants to be famous on YouTube. The term “YouTuber” entails not only influences but it can also

generate money. In issue 1 we featured Julen, now we are digging deeper to find out more about the journalism student and popular YouTuber in order get a glimpse into the world behind computers and cameras. How did it all start? It happened by accident. I knew of some people who created videos for the Internet. I used to watch the videos of Charlie from his YouTube chan-

nel CharlieIsSoCoolLike. After some time, I decided to create my own channel. I had no idea what the future would bring, but I wanted to try the new multimedia platform. I had never made videos before so I got really excited about it. I took my video camera, my computer, my illegal video-editing program and I started writing scripts. All those videos from when I started out are now hidden; no one can watch them, just me. And not even I will watch them because it is too

embarrassing. What I’m trying to say is that every hobby you start as a teenager tends to start in a messy and amateur kind of way. If you are still into it after a period of time, it develops little by little into something more mature. Not necessarily the content but the production and the ideas behind it all. What do you need to do as a Youtuber? I am my own boss. It is like my online house with my rules. I make videos whenever I want, I decide on the theme, location, duration and whom to invite to watch my video... absolutely everything. And this freedom is what makes YouTube successful. Basically all I need to do in YouTube is to enjoy myself. What is the relationship between you and YouTube? I have signed a contract with YouTube. It stated all the responsibilities I have to obey e.g. not using any copyrighted materials. Additionally, I cannot disclose how much they pay me otherwise they will close my YouTube channel. Having a YouTube channel is like playing football, one has to obey the rules. It doesn’t mean that you won’t be able to enjoy yourself because you are highly restricted. It’s just the general rules you agree when opening a YouTube channel. How frequently do you produce videos? I own two YouTube channels. The first one is called Hola Julen (which means Hello Julen) and it’s the one I put most of my effort into. It has more than 47,000 followers and I try uploading a video per week. Obviously, as it is my hobby and

there are more important things to do (my studies, for example) I don’t always achieve this goal. In that case when I am super busy I upload every other week. The other channel is called ExtraJulen with nearly 8,000 subscribers; all the extra footage goes there. How do you figure out what your subscribers want to watch?

I don’t. There is no certain way to know if my subscribers will enjoy a video. But there is a small trick: If I enjoy making a video, I know my subscribers will also enjoy watching it. What do you want to produce in the future?

I want to make it big. Not just trying to make better content for my channels but I want my passion to grow beyond YouTube too. I would like to collaborate with other platforms and brands... Will you continue to be a YouTuber in the future? Or do

you plan to take on more conventional work? Sure I will. It is a hobby and I am enjoying it so much. Thanks to YouTube I’m assisting a lot of events and meeting so many interesting people. I have no idea where I will be working in few years.

Garde Magazine #8  

Merry Christmas! Garde Magazine brings in new subjects and season's greetings with love and creativity!

Garde Magazine #8  

Merry Christmas! Garde Magazine brings in new subjects and season's greetings with love and creativity!