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.



The 500
Into the Fold

Brett Walsh


Photograph by Brett Walsh

Being complicit and not knowing it is a danger. If you are part of a problem, but you don’t know it, then you can’t solve it. Being complicit and knowing it is also a danger. Knowing you’re involved doesn’t make the problem easier to solve, plus you have to deal with your responsibility. Being in denial about your complicity exacerbates the problem because you relish in showing others that they are complicit too.

Being complicit, whether you know it or not, leads to inaction, because complicity is a reaction to unwieldy complexity. Left unchecked complexity becomes conservative. When a problem gets too complicated it ceases to be a problem and becomes a brute fact, part of the prevailing cynicism, shared by those responsible but in denial. We need simplicity to progress in general: ‘life is complex enough, therefore, destiny should be simple.’ We need simple directions or we get lost and come to a standstill. If alternatives are overwhelmingly complex, then we prefer things as they are.

Complicity can keep things simple. In a complex situation, complicity is preferable to guilt. Guilt is binary: you’re in or you’re out, whereas complicity deals in degrees and graduations. It is always a question of how complicit. For the cynic, this is a minor question, an over-scrupulous thing to ask. We may be guilty of one thing or innocent of another ad nauseam. Ultimately, we are all complicit so things are simple. The system endures.

The word complicity comes from the latin 'Complicitās', meaning ‘to fold together.’ So complicity is a kind of communion, but not a permanent state, because a fold is also a hinge. To fold is to make two halves and bring previously separate sides face to face. It is splitting and joining at once. Complicity is bringing distinct things closer but their distinctness can remain, they are related, near, corroborating. Complicity is a partnership but, in contrast to responsibility, the more it is shared the more it increases.

For the court to determine guilt it must establish artificial conditions, excluding and regulating. Guilt has a corresponding punishment and comes with the potential of redemption. Complicity is more worldly, persisting and less categorical than guilt or innocence, which makes it slippery and unlikely to prompt reparations. The complicit one can always move closer to guilt, but proximity doesn’t equal judgement. Those close to guilt are not guilty, those far from guilt are not innocent, both are complicit.

Everyone in the system is complicit, even if only slightly, unintentionally or unavoidably. Rather than drawing up league tables of complicity we should seek measures of guilt. Complicity is a danger because it allows us to be close to guilt without feeling guilty, to be so close yet remain distinct. It conserves the status quo and dissipates criticism. Complicity perpetuates itself and guilt grows in the bargain. Guilt may be an unpleasant category but accepting it opens the potential to make amends and solve the problem. Making amends disrupts the growth of guilt.