There’s that word ‘furniture’, as if you don’t really pay it any attention – it’s just there.īut that’s very true of the house in general, in that Fantastic Man doesn’t just write captions to satisfy clothing credits, but to really invest in what they’re saying and to try to take that to another level. Most women’s magazines use something like that, but we try to remember what they’re for, rather than writing them like they’re just a necessary part of the furniture. In a way that’s unavoidable because it only comes out twice a year, but it’s also there in things like the section openers, which very calmly talk the reader through the things they’re about to encounter.
I love the way The Gentlewoman takes its time.
Reading the magazine I think the editorial and design reflects this desire to go slowly and take time to absorb detail, so when I went over to the Bloomsbury offices shared by The Gentlewoman and Fantastic Man earlier this week, I began by asking editor Penny Martin whether this pace is a conscious part of the production process. Among the many things she likes about it is the fact that it only comes out twice a year – she likes to take her time with it, and feels reassured that she’s going to have plenty of time to read it before the next one comes out. Of all the magazines currently residing in our house, The Gentlewoman is the only one that my wife actively looks out for, and so last year I bought her a subscription. The one exception to this rule is The Gentlewoman. Of course I buy them, but they tend to be single issues – tasters rather than long-term commitments. It’s a strange consequence of running Stack that these days I don’t subscribe to many magazines.
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