Ladies and gentlemen, welcome to another inspiring installment of Future Talks by RTF, where we engage in conversations with the pioneers who bring design stories to life. Today, we are honored to be in conversation with the visionary mind behind Flanelle Magazine, an extraordinary creative endeavor that has carved its own unique niche in the world of design and media, Sarah-Eve Leduc.
Sarah-Eve Leduc embarked on this remarkable journey with a simple yet profound motivation: the desire to create a creative project that spoke to their passion and expertise. Armed with the knowledge but without experience, they set out to build a magazine that would become a testament to their dedication and innovation.
Sarah’s early years were marked by determination and resilience as they balanced their burgeoning magazine with a full-time role as a photographer and the pursuit of a marketing degree. It was a slow progression, with countless hours invested in building a brand identity, collaborating with talented individuals, and curating exceptional content. The journey was not without its doubts; profitability remained elusive, but the allure of creativity and collaboration proved irresistible.
The path that led to Flanelle Magazine was rooted in a passion for photography, fashion, and design. The conversation also delves into the creative influence of the job and the future plans that await. Staying motivated, our guest shares, involves consuming diverse art forms, engaging in brainstorming sessions, and seeking inspiration beyond the confines of the industry. Join us as we explore this fascinating journey with our guest and glean wisdom from their experiences in the world of design, media, and creativity.
What prompted you to build Flanelle Magazine? How did the initial years and progression look like?
Sarah: I created the magazine because I wanted to make a creative project for myself. I had most of the knowledge to start a magazine, without any experience.
I contacted a few people and brought some people to add their talent to the project with me.
It was a slow progression because it was always a project I was doing on the side, while doing my bachelors degree in Marketing and working as a full-time photographer. The initial years were a test of resilience, with countless hours spent building a brand identity, reach artists and curating content.
It took years, and a lot of time I wasn’t sure if I should continue because it was not as profitable as I hoped. The revenue was non-existent, but the creative high was addictive. I was also proud of the creation process and working alongside other amazing talents.
As we progressed, we focused on embracing change, listening to our audience, and maintaining our core aesthetic and values.
RTF: How has ‘redefining’ come into play for magazines regarding ideas and approaches, looking at a constant shift in the media landscape and people’s perception towards it? How did you encounter the curve with Flanelle Magazine?
Sarah: I started the magazine in a really interesting time when the giants were shifting from print to digital platforms. I had my degree as a graphic artist, and I’ve always been kind of a geek, so I knew that the digital platform was going to be a big part of it. However, as a photographer, I find print to be very important as well. I decide to give both options to artists.
As I was doing my Bachelors’ degree, a lot of my classes were about social media communications and the rise of digital marketing. It opened my eyes to the different ways the media had to take shape and form in order to thrive. It became evident that the media landscape was morphing, and to thrive, Flanelle had to be malleable in the digital world as well.
RTF: How do you look at the interests of advertisers in publishing? What is the ‘acceptable’ amount of influence that you let in?
Sarah: While advertisers play an undeniably vital role in keeping the magazine afloat financially, our content’s authenticity is non-negotiable. Our print magazine has no standard advertisement like you would see in big media. I sometimes catch myself purchasing a magazine, and everytime I have to flip through so many advertising pages, to have a few original articles or editorials. I didn’t want that for Flanelle. Don’t get me wrong – I know these are the pages that keep these magazines alive and on top – but I feel like people do not see advertisements like they used to.
The modern consumer’s interaction with advertising is evolving, with many becoming increasingly discerning. For Flanelle, the key is curating advertisements .An ‘acceptable’ influence is one that aligns with our brand ethos without overshadowing our editorial aesthetics and voice.
RTF: How has the content published been impacted by the presence of social media? What are the ‘positives’ and ‘negatives’ of it?
Sarah: The magazine was created in 2013, back then social media was already pretty active ( Facebook, that is), right before diving into instagram. Flanelle was born in an era dominated by social media, it was Facebook back then, and quickly tipped over to Instagram.
For Flanelle, Social media has amplified our reach and allowed real-time engagement. The positives include instant feedback and a broader audience. Negatives can be the pressure to conform to trends and the transient nature of content.
For artists, the upside of social media is the ease of discovery and the zero-cost barrier. But it’s a double-edged sword; it demands a significant time investment and the space can quickly become oversaturated. That’s why being published in curated media is really important for these artists, and we are honored to publish them and discover new emerging talent.
RTF: How did your interest in photography develop? How crucial was it to push you towards building your own magazine?
Sarah: The passion was pivotal, as it laid the foundation for Flanelle’s emphasis on visual narratives.
When I was younger, I wanted to become a fashion designer. However, after seeing the amount of work required, I decided to change paths and become a graphic designer. During my certification, I got my hands on my first DSLR camera and was instantly smitten. Right after my course, I delved into the world of photography and pursued further certification. Fashion, design, and photography have always been my trifecta of passions. I yearned for a platform where these could intersect, a space to spotlight talented individuals. This melding of my interests breathed life into the magazine.
RTF: What is your idea of an ‘ideal’ pitch?
Sarah: Concise yet comprehensive, that captures our aesthetic, and paints a clear picture of its execution. The story should resonate with the media you are pitching to.
RTF: How important do you consider a ‘Media Kit’ to be?
Sarah: Given the volume of daily emails we receive, especially from PR professionals and agencies, a comprehensive media kit is indispensable for them to be able to know accurate details of who we are, and who our readers are.
RTF: What are some challenges that general exchanges with creatives and designers present?
Sarah: Being an international magazine, we shoot creative editorials all over the world. For local creatives who submit to us, it’s an amazing opportunity! However when we plan content abroad, there can be some challenges such as communication gaps, managing expectations and visions, and ensuring timely deliveries.
RTF: With almost 10 years in the industry, what would be your advice to young writers aspiring to take a plunge into design magazines? And what additional skills would you advise them to develop?
Sarah: Be authentic, stay updated, and never stop learning. Dive deep into design principles and trends. Develop skills in digital tools, understand SEO, and cultivate a network within the industry.
RTF: How has your job influenced you creatively? What are your plans for the future and what are some off-the-table habits that keep you motivated?
Sarah: A career devoid of creativity was never an option, so working in something creative has always been non-negotiable for me. Personally, consuming diverse genres of art, engaging in brainstorming sessions and seeking inspiration outside the industry keep me motivated.
