Volt launched their first app transforming the editorials of the issue 14 into artwork.
‘Volt Introduces’ ten young artists who were commissioned to interpret ten editorials from Volt 14 into a vision of their own, using illustration, film, animation and photography, with illustration as the focal point.
Download Volt app HERE

To get to know the young talents more, we had a short interview with them.
Let us introduce: animator Jenny Jokela


Volt Café: Where do you get your inspiration?
Jenny Jokela: From books I read and artists such as Egon Schiele, Cindy Sherman, Gerhard Richter and Nathalie Djurberg.

VC: How would you describe your work?
JJ: Handmade and spontaneous. The subject of the animation is often a human body in constant transformation.

VC: What would you like to tell to the world with your work?
JJ: Animation makes me happy and puts me in a good mood – so even though my work often has a sinister tone, I hope the enjoyment of creating shines through the darkness of the final outcome.

VC: What are your biggest achievements so far?
JJ: I’m still in the very beginning of my career so to be honest every time I land an interesting or paid client it feels like an achievement. My animation ‘Skint’ recently won SHOWstudio’s punk DIY fashion film competition – to have a fashion film-icon like Nick Knight choosing my animation to be one of the winners felt like a great recognition and encouragement to keep going.

VC: In your work is fashion film/animation an art form or purely as means to document?
JJ: Probably both – animation feels like the natural way for me to create artwork, but is also great as a means to document an object. It provides endless possibilities and ways of not only showing the shape and look of an object, but also capturing its movement and texture.

VC: What do you think is the future for fashion film/animation?
JJ: Although fashion film has been around for quite some time now, it’s still relatively young so I believe it will keep on developing and finding its own shape.

VC: Are/should there be any boundaries to break in fashion film/animation?
JJ: I often think about whether fashion film, with its constant commercial presence, can be seen as a form of art rather than some kind of extremely beautiful advertising. Just like some of Absolut Vodka’s artist collaborations blur the boundaries between art and commercials in printed media, fashion film might create a bridge between the two in moving image.

VC: Are you encouraged, when you’re developing your film style, that there has to be a specific look?
JJ: The low-key and handmade style that my work has feels like the natural and right way for me to create, so unless the client has specifically asked for it to be in a different style I don’t really spend much time thinking about it.

VC: What is your goal as a professional?
JJ: To be able to keep animating interesting projects, full time and for many years.

VC: Who would you have a creative pow-wow with for half an hour?
JJ: I’m a big fan of Swedish animation-artist Nathalie Djurberg. I’d love to learn some of her puppet-making skills.

VC: Are there any fashion houses particularly that inspire you?
JJ: In my animations the human body is often the subject of transformation, so from an inspiration point-of-view I’m interested in collections that challenge our normal concepts of gender and identity, like J.W. Anderson’s A/W13 collection.

VC: What do you think of London’s fashion scene? Are you inspired by the people on the street?
JJ: I don’t knowingly draw inspiration from street style. Even though I’m a big fan of the minimalism and simple shapes that dominate in my hometown Helsinki, the boldness and playfulness of the London fashion scene can sometimes feel refreshing – fashion shouldn’t always take itself too seriously.


Interview by Regina Sepp



Jenny Jokela, Regina Sepp,