It was only very recently that I discovered UPPERCASE, a magazine for the creative and curious. Do you know it? It’s the most inquisitive, inspiring, adventurous, eclectic and playful (those are their words, but I couldn’t describe it better) magazine. I picked up my first copy this weekend in Anthropologie and quickly became engrossed. I instantly noticed the weighty and luxuriously matte paper that the entire magazine is printed on. This is something that too many magazines forgo because of cost. Most titles, you see, are beholden to their margins and because subscription costs for mainstream magazines have gotten lower and lower in order to incentivize people to subscribe, their profit gets smaller and smaller. Paper stock is often one of the first things that get cut, and cut again, and cut even farther until the pages are so thin, flimsy and yucky feeling that you wonder why you are even reading that magazine. It’s a catch 22 and there’s no right answer. But, by wonderful contrast, UPPERCASE feels like the most incredible thing in print. They’ve invested in their product wisely and the result is tangible from the very first page you touch. Sorry for my little rant there — occupational hazard (I used to work in magazine publishing).
So, imagine my surprise when there was not one, not two, but three features on textile designers in the current issue (Issue 13). I devoured every creative word and image in the magazine, lingering especially long on the pieces about Lourdes Sanchez (p. 22), Eloise Renouf (p. 42) and Eva Franco (p. 68). What’s even more amazing is that Janine Vangool‘s (she’s the talented publisher, editor & designer of UPPERCASE) opening message was all about serendipity and happy coincidences, which is exactly how I felt when this issue found its way into my hands. UPPERCASE, you have a new subscriber (and you’re worth every penny for your unique creative voice and ohhhh that paper stock!)