Magazeum

THE (MAGAZINE) DOCTOR IS IN

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Megan Schertler wants to help you make magazines. Yes, you … and you … and you too. But she also wants to ensure that once you make a magazine, you make another one. And then one after that. She wants to make sure that you know it's not easy to create a magazine or to run one or to publish a second one or to sustain a magazine or media brand or to run a business.

Megan is big on print. She’s one of those extremely rare people who’s held down numerous magazine jobs while never working on the digital side of things. Yes, really. People like her exist. So she knows more than many her age that print is more engaging, produces more loyalty, and creates a deeper and more meaningful connection with the message on the page than any other medium.

And so with her partners, Megan now helms In Real Life Media to help would-be magazine makers sure, but also some of the world’s largest brands navigate the realities of the magazine world. Because while we all love print here, it’s hard, it’s expensive, and it is, quite frankly, a pain in the ass. But it also results in something glorious, and Megan travels the world speaking at conferences and to people like me to spread the word..

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This episode is made possible by our friends at Freeport Press.

A production of Magazeum LLC ©2021–2025

THE PRIME OF MR. NEVILLE BRODY

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“Once you have broken down the rules, literally anything is possible.’”

In the business of magazine design, few names resonate as profoundly as Neville Brody. And, to this day, he lives by those words. 

Renowned for his groundbreaking work and commitment to pushing design boundaries at magazines like The Face, Arena, Per Lui, and others, Brody is a true auteur in the world of design. We talked to him at the launch of his spectacular new monograph, The Graphic Language of Neville Brody 3.

Nurtured on 1970s British punk music, which rejected anything that appeared self-indulgent or overwrought, Brody found the perfect launch pad at The Face, the London-based music, fashion, and culture monthly, created by editor Nick Logan in 1980.

The Face inspired an array of fellow magazine rule-breakers, including the late Tibor Kalman, David Carson, and Fabien Baron, who calls Brody’s work “powerful, aggressive, and simple.”

Since then, Brody's journey in graphic design has been marked by a relentless, almost unforgiving pursuit of innovation. His magazine design challenged conventional norms and redefined visual storytelling. Brody’s design approach is characterized by a rejection of conventional grid systems and editorial hierarchies, and a willingness to break free from established design rules.

And he thinks magazines today are missing a giant opportunity:

“That’s the beauty of print, that you can’t achieve in the same way digitally. Digital is so commoditized. We’re not expressing content anymore. We’re just delivering it.

Neville Brody's legacy in magazine design lies in his fearless approach to challenging the status quo and his ability to capture the zeitgeist of his time. By pushing the boundaries of traditional graphic design, he not only influenced the look and feel of magazines but also inspired a generation of designers to embrace innovation, experimentation, and a spirit of creative rebellion. Brody's work continues to be celebrated for its enduring impact on the evolution of graphic design and its role in shaping the visual language of contemporary media.

A production of Magazeum LLC ©2021–2025

BAD BUNNY

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Playboy is many things to quite a few people. We don't have to go into its history, but the thing you need to know is this: it's back. Yes, there will be photos of women in various stages of undress, and yes, there will be sharp writing from sharp minds. But mostly, the people behind it are going to try and build up the media brand, and that's important, because Playboy was arguably the first magazine that used its content at the center of a much larger and much more diverse brand ecosystem.

The new editor-in-chief also comes with another title, Chief Brand Officer, which gives you an indication that these people aren't messing around. Philip Picardi has a long history in magazines and has also worked in brand. He's also gay, which honestly, I have some trouble saying here because it doesn't matter that he is.

But when I tell my friends that the new editor-in-chief of Playboy, an heir to Hugh Hefner of all people, is gay, well, that raises an eyebrow. Because Playboy is a lot of things, but it's also a very male, very heterosexual brand. But what if I told you that some of the best writing coming out of Playboy now was being written by a cadre of hyper-talented young women, that Philip's boss used to work at National Geographic and Disney, or that Philip received his master's degree from the Harvard Divinity School?

Should I keep going? Because I could. Just listen to our discussion. We're going to dispel some misconceptions and then some.

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This episode is made possible by our friends at Freeport Press.

A production of Magazeum LLC ©2021–2025

THE INDUSTRY'S LITTLE SISTER

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In early April, what’s left of the magazine industry gathered at Terminal 5 to see who would win this year’s National Magazine Awards—the ASMEs. Throughout the evening, the usual suspects stepped up to accept their Alexander Calder brass elephants—the ‘Ellies’—on behalf of their teams at The Atlantic, New York, and The New York Times Magazine. 

Then came the award for General Excellence, Service and Lifestyle—a category that covers every food, fashion, and fitness magazine in the business.

And the Ellie went to… content juggernaut Highsnobiety—a sneaker blog-turned-cool kid media amalgam that encompasses a twice-annual $20-per-issue print magazine, plus a flood of social media, a website that is also an e-commerce platform, and a creative agency that does 360-degree marketing and storytelling for brands.

Before the crowd could start scratching their graying heads, a Billie Eilish lookalike in a gray Thom Brown skirt-and-pant suit took to the dais. There were plenty of people in that room who had never given Highsnobiety much, if any, thought. 

But in that moment, this woman, Willa Bennett, Highsnobiety’s 30-year-old editor-in-chief, had officially become a force to be reckoned with. Not only that, but Highsnobiety’s business model, which bends rules that had long been sacrosanct in magazine journalism, suddenly appeared to have won the seal of approval from the oldest of the old guard.  

The post at Highsnobiety was a major leap for Bennett. Just two years ago, she was the social media manager at GQ. Our friends who worked with her there tell us they thought of her as “the industry’s little sister”—hungry, passionate, and looking to translate the magic of magazines to a new generation. They said that even though she’s disrupting the magazine as we once knew it, at heart Bennett is a “a magazine junkie who really venerates  the old ways.” 

And now the surprise win has put her in the spotlight of the establishment media, with The New York Times Styles running a portrait of Bennett in her signature suit-and-tie look on its cover. The win inspired a segment on the Slate Culture Gabfest in which the hosts pondered, “What Is a Magazine Now?”

Over in Spreadlandia, we thought, Why not turn that question directly to Willa Bennett herself? In the end, this conversation left us feeling more optimistic than usual about the future of media. It also made us feel old as shit. We hope you enjoy it as much as we did.

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This episode is a special collboration with our friends at The Spread and is made possible by our friends at Commercial Type, and Freeport Press.

A production of Magazeum LLC ©2021–2025

CHECK, PLEASE

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Thanks for tuning in. Just a note before we get going: This is the 50th episode of The Full Bleed, and I, along with the team here at Magazeum, truly appreciate the time you spend with us.

Waiting is what I consider a perfect magazine. Not because of its design or the writing, though both are stellar. But mostly because it functions as a closed loop. How? The subject and the audience are one and the same. Waiting, you see, is a magazine about creatives in New York’s service industry. And it is a magazine for creatives in New York’s service industry. That’s a neat trick and also makes me wonder why no one had done this before founder, editor-in-chief, and complete magazine neophyte Adele Blanton hit upon the idea.

Adele has done the math: 10 percent of the estimated 700,000 people working in the food and beverage industry in New York are artists of some kind. Artists, actors, writers, dancers. You name it. And that number is a healthy baseline for any publication. Waiting has published three well-received issues and now she and the team behind it has to figure out how to maintain and grow the media. That’s one of the many things we talk about on the show.

Did we tell you this is our 50th episode? Because it’s our 50th episode.

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This episode is made possible by our friends at Freeport Press.

A production of Magazeum LLC ©2021–2025