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
Sara Procter - Hyslop Office Supplies

Chris Samuel


There are a lot of references in my work to popular culture, but I wanted people to be able to enjoy the narrative without recognising them — not unlike The Simpsons, I suppose. The Simpsons are a huge inspiration, I learnt lots about culture through the clever scripts; and in the show, outside of the narrative, there is that strange sense of familiarity with broader culture — a kind of pre-made familiarity — which I try to use to get my own ideas across using ones already pre-mixed.

If my characters were actors it would be cheesy and horrible to watch. And everyone loves penguins. The main reason I started using costumes was that when I was studying at Lancaster University, there were no good actors around. How do you get around there being no good actors? You cover their faces. The costumes remove the problem: they don’t have facial expressions; they have this deadpan expression all the time, and all the actor can do is move their bodies to convey the character.

There’s no overarching political idea. I’ve just loved penguins since I was a year old, and I have a huge collection of five-hundred or so stuffed penguins at home. Penguins don’t have life partners, their relationships normally last a year or so. They are actually pretty naughty, some species have prostitution, they trade each other for rocks, they’re quite strange creatures in that respect. But part of 'Hyslop Office Supplies' was just a general interest in office culture, mundaneness, and suits.

I have made a panda film before, but it involved a lot of exhaustive research into the panda's form during my last year of university. My film 'Efishiency' was supposed to be against the monopolization of ‘things’ generally.

Northern accents are more characteristic of a place. When I made Hyslop Office Supplies, I didn’t know how to present it as an artwork, so I wanted it to be in a real place — that way I didn’t have to make it authentic. And these office-spaces are simply the workplace reality up north. The other reason I chose northern accents a was practical consideration, in that the best voice actors I could get my hands on were northern, very northern, and they had that slightly richer, warmer tone. (Think Wallace and Gromit).

Most of the job is preparing the set. It’s important to create the sense of a universe: everything has to be a penguin pun or a variation on the theme. The most elaborate example I can give is that we made a newspaper specifically for the film, and I got friends to write various penguin articles — which didn’t end up making it into the film! It’s small things that you might not notice on a conscious level straight away, but it’s really important when creating a coherent universe.