As digital fatigue sets in and algorithms dominate our feed, magCulture offers a slower alternative, reviving print as an intentional experience.
Tucked away in the streets of Clerkenwell, magCulture is quietly reshaping the future of print.
Apartmento, MacGuffin, and Interview magazine are just a few of the titles you will find lining the walls and resting neatly on the low tables as you open the door, as you are greeted by the soft lighting and the gentle ambient music.
From devoted magazine enthusiasts to curious passers-by, some visitors browse the shelves, while others sit comfortably absorbed in their reading. Quietly, the store seems to ask, “Why don’t you stay a while?”
“It’s [just] about the people behind the magazines and putting people in the same room together,” store manager Bella tells us. “It’s that element of connection and creating something with other people; getting inspired by the ideas behind them.”
This has been at the heart of magCulture since its inception. Founder Jeremy Leslie started magCulture as an online journal back in 2006, pushing back against the “print is dead” narrative.
In 2015, he opened magCulture as it is known today. Now, as they mark their 10th anniversary, the store continues to expand through online resources, events, and an editorial consultancy.
Although it’s assumed that glossy spreads are a thing of the past, magCulture’s success points to a shift in our media desires. On TikTok alone, the #magazine has more than 470,000 posts, featuring everything from collector hauls to tutorials on making DIY ‘zines.
Meanwhile, a 2025 study by The Harris Poll found that 71% of people say that print catalogues and magazines feel more authentic than digital campaigns.
Bella hints that this is not surprising: “We’re here receiving a new submission every day, sometimes a whole pile of new submissions every day. If print was dead, that definitely wouldn’t be the case,” she says.
“It’s very easy to get inspiration from stuff online that has been regurgitated again and again.” In contrast, she values work that feels more intentional, “something where you have to go look.”
Sure, anyone can read a quick snippet online, but to slow down, browse, and engage with the writing has become something of a luxury. It’s a luxury to dedicate an afternoon to, and one that magCulture has deliberately built into its identity.
“Something is shifting in the industry; more people want to have that print magazine. Whether that’s just as a counterpoint to their digital or because maybe they’re seeing it as sort of a more exclusive or luxury avenue,” Bella explains.
“I think a lot of people don’t really want to say that about magazines because you don’t want to position them as luxury. But the price point has gone up to coincide with this idea that they’re more collectable, rather than just the glossies that people just buy and throw away.”
She emphasises that magCulture’s success lies in its ability to adapt alongside the digital world, and that digital and print “often work in tandem rather than against each other. So, what you have is a print industry that needs to be sustained by the digital”.
By embracing the niche and prioritising authenticity, magCulture offers a glimpse into the future of magazines and collective arts spaces, one where community matters just as much as content.
So to print lovers and the creatively curious, Bella confirms: “There’s still very much room in the industry; there’s always room for more.”
Featured image by Tia Frazer.