Wednesday, April 27, 2016
Tuesday, April 19, 2016
Sometimes, when well-known magazines that are in demand and that have been around for a while doing what they do – and doing it well – decide to do something different, fans can be disappointed. Sometimes, when a well-known magazine tailored around men and masculine culture goes female, fans can be disappointed. Sometimes, when a German magazine starts to publish in English, fans can be disappointed. Sometimes, when a well-known magazine tailored around men’s (and later women’s) fashion goes interior, fans can be disappointed. The Heritage Post has done all of the above. We are not disappointed, nor, we’re quite sure, are any other fans.
Since 2012 The Heritage Post has been publishing its quarterly ‘Magazin Für Herrenkultur’ (Magazine For Men’s Culture), quickly picked up as the expert in vintage accessories, apparel and style for men and everything in a men’s life. When they launched the first issue of their ‘Magazin Für Die Frau’ (Magazine For The Woman) in 2014, it was received just as enthusiastically by a completely female audience. In January 2016 editors Uwe and Stefanie launched the sixteenth issue of The Heritage Post’s men’s edition in English as well as in German, and now, a couple of months later, they managed to surprise everyone with The Interior Post – a ‘Magazine Für Wohnkultur’ (Magazine For Interior Culture). Publishing in English was a smart move: while staying true to their heritage (clever choice of words, right?) and their fan base, they managed to increase the latter by miles. Now accessible for a wider audience, and with more flair internationally, The Heritage Post is becoming bigger and bigger.
Yet where The Heritage Post has had a flair for interior design, cool gadgets, art and awesome vintage finds since the get-go, The Interior Post is now the editors’ official outlet. When visiting Athenaeum this April, one of them mentioned how their hearts really lay in interiors, and this is plain to see on opening the fantastic first issue of Interior Post. Filled with beautiful shops, restaurants, hotels and interiors, art, accessories and vintage treasures, The Interior Post features the most jealous-making lofts, studios and apartments and tips the most handsome buys around. A combination of urban and rural living, modern and vintage, the first issue manages to touch base with all interior essentials. Formatted in the classic The Heritage Post way, as a fan you know exactly what to expect, yet are given so much more. The Interior Post is published in German and available in our webshop here. The latest issue of The Heritage Post for women features vintage wedding dresses, recipes, Pashley bikes and all the best buys from internationally trending brands. Published in German and available in our webshop here. The, just in, April issue of The Heritage Post for men is also chock full of steam punk, knives, cars and lots of other goodies published in English (and German) and available in our webshop here. Happy Heritage everyone!
Monday, April 4, 2016
Slightly Foxed’s literary and self-titled magazine has gotten ready for spring in a spectacular way. The issue that’s available in our on- and offline shop is the perfect way to begin and end these first climactic, mesmerizing and romantic days of spring. The city’s getting warmer, people are moving outside, daffodils are blooming and trees are budding. It’s the start of a new year and sitting on a park bench reading Slightly Foxed’s literary gems in the shy sun is exactly as fun as it sounds.
This issue features extraordinary stories that include short fiction and essays illustrated with gorgeous drawings – each and every meta level tells a tale for and about real readers. It reeks of London. It reeks of the majestic island across the pond – it’s British in its purest and most blunt. Slightly Foxed might exude an air of the faint-hearted with flowers on its cover, published in an easy-to-handle format paperback and printed on classic off-white thick paper, yet there’s more than meets the eye.
Slightly Foxed is jam-packed with original reading recommendations, humor and critique. It moves its readers to read more: each quarterly - though ‘enough’ on its own and strong enough to survive next to titles such as fellow-British literary mag Structo that’s filled to the brim with original flash fiction, poetry and short stories - Slightly Foxed is an organized sweetly colored revolution that breathes life back into small independent publishing and is an epitome of the passion of reading. It is then not surprising that Slightly Foxed is so much more than a ‘simple’ literary bookmag – even if there is such a thing as a ‘simple’ literary magazine anymore - it was a bookshop and publishing house (unfortunately the first had to close its doors in January this year, while the latter is fortunately still very much alive in Hoxton). They publish new titles in the world of literature and re-publish older names in specially bound editions. All-encompassing, honest and original, the latest issue of Slightly Foxed is living proof of the fact print isn’t dead yet, and nor is literature. In fact, it’s spring, it’s all only just beginning.
Monday, March 28, 2016
The Pitchfork Review has long been a force to be reckoned with online – ever since 1996 to be exact - but ever since they first published their quarterly paper magazine in 2014 they’ve been almost unstoppable. Refreshing in a semi-tired genre that’s awaiting some serious make-overs, The Pitchfork Review fills a void with their years of expertise, a fantastic design reminiscent of independents and a lot of TLC.
Their eighth issue features 128 pages of musical talent of all genres. Nothing superficial, mind you, but hard-knock essays, political pieces and reviews. Featuring Prince’s journey into his Dirty Mind, the UK club scene of 1986-1990 and queer representation in the music industry of the eighties. “For gay men in England, the dawn of the eighties was a time to fuck and get fucked – by each other, by AIDS, and by Margaret Thatcher’s government”, “It’s not entirely your fault if you don’t quite understand why Prince was such a big deal in the eighties” and “If there’s one thing you know about Catholicism, it’s probably that Catholicism involves priests […] these priests were primarily singers,” are intro’s that make us want to read on, and are the epitome example of the diversity of the all-encompassing Pitchfork.
In content as well as design Pitchfork is refreshing. Where it’s obvious its editors have taken care to dot their I’s and made their layout as eye-catching as possible, they’ve managed to not overdo it. They haven’t strayed into the trendy ‘white spaces’, but have created a straightforward – rudimentary in its jolliest form – and beautifully illustrated magazine. Every issue of the Pitchfork is a document of musical history: “We consider both foreverness and the never was”, which with Pitchfork is less a cliché than it is simply an accurate statement applied to a very cool magazine.
Tuesday, March 22, 2016
Elephant is a quarterly art culture magazine that focusses on contemporary art, visual culture and fresh faces and material. Their content is always original and manages to pinpoint current and up-and-coming trends and artists and creators in the visual world of art and design.
Their latest issue, #26, focusses on the impact of silicon valley on the art world, and its (in)direct effect on our culture. They feature rule-breakers that have come up with increasingly mysterious and newfangled methods of creation and artists that have managed to deploy and employ technology in unbelievable ways. Names like the illusive and nonconformist David Hammons, Emily Steer (see photograph above), Isa Melsheimer and concrete architecture lover Claire Shea are at the heart of showing how technology, computer science and being a nerd has left its permanent stamp on the art and design world we know and love today.
‘How to make a dent in the universe’ is Elephant’s spring issue’s slogan, a question that resurfaces in every feature and article. The issue basically offers a narrative of the presupposed indentation of technology and science on our culture, and its permanent effect. Yet where it builds a solid argument and assumes an unwavering position in the art versus silicon valley debate, its final note are open questions. Can we go back to human feelings? Can art break free from computer animated graphics, social media, and pre-fabricated and packaged human emotion? Can we just go back to ourselves? This is the ‘dent’ they’re hoping to claim, the gap they’re hoping to push modern artists and designers towards. Albeit a gentle push, Elephant is a magazine that has the authority to do so, and the goods to back it up.
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