Stack Magazines

"Journalism is in crisis and Europe is in crisis..." Kyrill Hartog is editor-in-chief of Are We Europe, the print magazine and digital platform that was launched in 2017 out of the chaos surrounding Brexit. It exists to tell stories about Europe in a non-divisive and constructive way, and since it’s a magazine that was born out of crisis, I wanted to speak with Kyrill to find out what they’re doing in the face of coronavirus, a new type of crisis that is affecting independent magazine makers around the world in totally new ways.

"You can have way more fun in print..." Ricarda Messner is one of the editors of Sofa, the Berlin-based magazine that dedicates itself to exploring themes like teenagers, cyber love, masculinity, and most recently play. We delivered their play issue to Stack subscribers this month, March 2020, and Ricarda dropped in at the Stack office a few weeks ago to speak about making "a print magazine that feels like the good old days of the internet."

"Somehow all our eclectic tastes combine and we get this glorious mess..." Dzenana Vucic is one of the volunteer editors behind The Lifted Brow, the literary magazine that styles itself as “a quarterly attack journal from Australia and the world”. Providing a platform for underrepresented voices, they do a great job of tapping talent that might otherwise be overlooked, uncovering experimental forms of literature and producing brilliantly exciting work. In this conversation she speaks about how the team make that happen, the pressures they face as a group of volunteers working without pay, and the many ways in which the Brow is growing beyond the magazine itself.

"We may not make it, but if we don't we'll go up in flames..." Jacob Barnes is editor-in-chief of Soft Punk, a new literary and arts magazine that’s working hard to tell stories you won’t come across elsewhere. Jacob and most of the team are navigating the move from university into work, and it seems like almost by accident they’ve found themselves creating this magazine as a way of showcasing the sort of stories they love. But there’s also something more deliberate and ambitious going on; they’re also committing themselves to a demanding quarterly publishing schedule, and engaging with the sort of serious work that can make a lasting impression on readers – at least it did for me.

"Why can't we talk about identity in a way that brings people together rather than divides us?" Luc Hinson is the editor and co-founder of Between Borders, the new magazine that aims to straddle some of the dislocations that are currently dividing Britain. The project began in 2017 and was inspired in large part by the fallout from the Brexit vote, and after publishing online for a couple of years and gradually figuring out their editorial voice, they’ve released their first print issue, themed around transit, a familiar subject they use as a way of uniting very different people from very different backgrounds.

"We take a very deep and holistic view..." Dörte de Jesus is the editor and founder of The Lissome, a sustainable fashion magazine based in Berlin. She became fascinated by the fashion industry while working at Elle Germany, and although she quickly became disillusioned by the wastefulness of fast fashion, she says she felt inspired to champion the people and companies working at the forefront of more sustainable making. In this conversation she tells the story of how she started publishing online, before moving into print while making some major changes in her personal life along the way.

"We believe these stories deserve to be told..." George Wright is the driving force behind The New Issue, a new print magazine published here in the UK by Big Issue North. The Big Issue helps homeless people by recruiting street vendors to sell copies at a profit, which the vendor then keeps, and The New Issue is dedicated to helping the same people but via a different route. It’s intended as a slower, longer read; it’s more expensive with higher production values; and its quarterly publishing schedule allows the team more time to find and develop the stories they want to tell. In this conversation George speaks about the motivation behind the new magazine, and how they're reaching readers without selling on the streets.

"Obviously it was just me in my bedroom..." Joel Seawright is the man behind Rotten, an extraordinary magazine that reveals and comments on the process of magazine making. Joel left school aged 15 and struggled to find work without any qualifications, but he knew he loved photobooks and started playing around with the idea of making a magazine as a way of working with the photographers he admired. He had no experience of publishing; he felt like he didn’t have a voice; and moreover he felt like he needed to prove himself to his dad and show what he could do. The result is a magazine unlike anything else I’ve seen – scrappy and handmade, funny and opinionated, it’s intensely personal but also intended as a general demonstration that these days virtually anyone can make a magazine.

"There are lots of horrible assumptions and stereotypes around disability and I just wanted to smash them all to pieces..." Claudia Walder is the editor of Able, the magazine that provides a platform for people with a wide spectrum of disabilities and chronic illnesses. She was diagnosed with ME when she was just 23 years old, and in this episode she speaks about the frustration and shame she felt at having to stop work and become "a disabled person", and also the revelation that made her want to turn that around and create a bold, confident magazine that communicates a wide range of disabled people’s experiences.

"We're just a big group of friends who make a magazine together..." Daniel Milroy Maher is the editor of Swim, the art and photography magazine that takes a refreshingly unpretentious approach to the work on its pages. As Daniel explains in this episode, the magazine was initially intended as a way to showcase the work of friends, and while it has grown since then and now also includes some really big names, it’s managed to keep that same feeling of easy accessibility.