iiii Magazine is an independent arts and culture publication, based in London and Manchester. We talk about culture in the sense suggested by Francis Bacon, when he said of intellectual enrichment: 'the culture and manurance of minds’. Our approach to culture is the same: that something bright and engaging may be derived from detritus. We love cultural ephemera in particular, and despite Bacon’s near-perfect turn of phrase, it is the position of the magazine that it is not sufficient. We publish articles that stretch our assumptions of what culture can be, so long as they are forged with originality.

We place no limits on subject matter or form — we have published incisive criticism, personal essays and memoirs, humour pieces and odes to oddities — but we take as a guiding principle this from Flann O’Brien’s The Third Policeman (1967): 

‘Always ask any questions that are to be asked […] Turn everything you hear to your own advantage. Always carry a repair outfit. Take left turns as much as possible. Never apply your front brake first’. 

¶ Visit Our Shop

Support the magazine by visiting our SHOP.

~ With the help of Studio Hyte, we created a football (scarf) with no crest, no local, nor national allegiance — a garment that challenges the ugly attitudes that alienate so many from the beautiful game.
~ As well as looking fresh, your (scarf) is also doing its bit to address the aforementioned issues, with 10% of all profits raised donated to LGBT charity Stonewall (Charity number: 1101255)

¶ Work With Us

iiii Magazine is a non-profit organisation, and our modest team of editors, reporters, and social scribes work on a voluntary basis. We do have plans to address this in the future. As it is we are looking for a creative, driven individual to join the team, to help shape future editions. If you would like to work for iiii Magazine, do send a CV and a cover letter outlining the sort of role you would like to take to We will do our best to get back to you quickly.


¶ Forthcoming Editions

A Publication by iiii Magazine: A look at football culture through twenty classic kits

(crest) is a book that entwines history, design, and football culture to enliven debate about belonging — both local and national — in a fractious British and European moment. Classic football kits are artefacts highly sought after by collectors and fans alike. Is this a question of design, of a club’s success, or of nostalgia? Can it be all or none of these things? In twenty short essays by twenty writers, (crest) charts the peculiar histories of each of the 2018/19 Premier League football clubs through the lens of a prized classic kit from the past decades. The book takes football seriously at its root, and looks at how larger forces drive the sense of allegiance of football-loving individuals — what hidden personal stories make the Beautiful Game beautiful when it can seem so ugly?

Produced by iiii Magazine, (crest) will feature quality photography and minimalist design. iiii encourages deep and engaged archival research, as well as idiosyncratic and strange personal stories. Whatever the mode or the form, iiii Magazine is committed to providing generous editorial support to writers.

To pitch a text, please email:
To be involved in any other capacity, email:

¶ Online

The online publication continues all year round, and publishes articles in three broad categories:

  1. Esoterica and funny writing [the stranger, more parochial, the better]
  2. Long-form interviews and features
  3. The 500 [react, respond in 500 words to an artefact, a lyric, a piece of punctuation, anything]

If your text does not fit into one of the above categories, don't fret, we just need a pitch. Please send a query or an extract from your text to with SUBMISSION in the subject line. Work should be previously unpublished; but we will consider work under consideration elsewhere if you let us know. We are run by a team of volunteers, and thus we are unfortunately not yet in a position to offer a fee.

Please provide a short author’s bio-line which will be published under your piece. 'Algenon Overling is a fictional writer based in 12th Century Denmark. He likes to relax with his kestrel and his crossbow. Good with kids’.

Style Guide

Please defer to the short style guide. It not only saves on editorial nit-picking, but illustrates commitment to the publication.

  1. Oxford commas, yes. In lists of three or more things, include a comma between the final two, before the ‘and’ (Manchester, Leeds, and London).
  2. Titles of books, films, exhibitions italicised. Titles of artworks ‘Like This’ (2018).
  3. One space after full-stops. Always.
  4. ‘Use single quotation marks “except for quotes within quotes” at all times’.
  5. Include spaces before and after em-dashes. (I wouldn’t — but for in unlikely circumstances — consider a teacake).
  6. Dates: 5 May 2016 / Decades: 1980s.
  7. Special formatting requirements are difficult to manage on an optimised website, but we will always try to meet a writer’s needs.



Robin Ince on Laurel & Hardy (Bonus)

Jordan Harrison-Twist


‘When I was growing up, Laurel and Hardy was on BBC2 all the time. Charlie Chaplin silent movies were on at 5:40pm. At that point, all of that culture was still around. It has only recently come back on television with things like Talking Pictures which has just started to show Laurel and Hardy again. That brilliant 30s comedy was something that was fortunately around a lot’.

¶ Just the detail of something like Helpmates (1932) with its cinematic first shot. What looks like a monologue recounted straight down the lens is, when the camera pulls back and reveals the entire scene, Oliver Hardy talking to himself in the mirror. Then the nosy postman arrives to deliver a telegram and tells him exactly what is contained within this supposedly private correspondence. So subtle.

'It’s always fun when you watch some of the feature films and you basically have a twenty-minute short just attached. And you think: this makes no sense. County Hospital ends with a routine in which Stan Laurel keeps dozing off because he’s accidentally been injected with something. And it’s not nearly as good as the rest of the film. “We’ve got three minutes to fill — let’s just drive around in a weird way”. But the best moments are just perfect'.

'One of the greatest moments is in Blockheads (1938) when Oliver Hardy thinks Stan Laurel has died in the First World War, but it turns out he is alive and has been guarding a trench, alone, for twenty years. When he returns, Stan just happens to be sitting in a wheelchair for comfort, and has folded one of his legs under the other. Ollie carries him, awkwardly, with difficulty, because he’s conscious of the fact Stan has one leg. He even drops his hat, and it takes a great deal of effort for him to get it back, still holding Stan in his arms. But the simplest of twists: Ollie, once they get to his car, looks down and realises that the whole time, Stan has had two legs. It is immaculately timed. You can see why Kurt Vonnegut and Samuel Beckett liked it — the perfection of the humanity.

I mention this in the book: I went to a live screening with Johnny Vegas. We were both awestruck, moved to tears, screeching with laughter. Johnny at the time had a heavily pregnant wife, and if she gave birth during the screening I said the child should have to be called Laughing Gravy, in homage to the short (1930). That is the greatest name for a dog ever. Laughing Gravy. Fucking fantastic'.