Abstract

Over the past years, Kinfolk magazine’s minimalist aesthetics has created a visual voice for a global slow lifestyle audience. Although Kinfolk has become a publishing phenomenon with many imitators, lifestyle magazines are frequently treated as light fare. Pioneering this particular genre of lifestyle magazine, Kinfolk fulfills a deeper purpose of helping readers define themselves. The magazine helps curate and perform lives and strives for authenticity, attraction, and positive valuation to generate short-term affective experiences and long-term cultural value. This article analyzes Kinfolk’s aesthetics as an architecture of relations assembling visual and textual page arrangements that are recurrently meant to be looked at more than read. While current studies associate Kinfolk’s slow lifestyle with Instagram’s blend of people and photography, this article seeks to demonstrate how editors, designers, and art directors have extended the visual personality of the magazine. In doing so, it will explore the magazine’s advanced aesthetic communication, establishing Kinfolk as the template for the millennial set and the culture of neomodernism.

Highlights

  • Kinfolk has become a publishing phenomenon with many imitators, lifestyle magazines are frequently treated as light fare

  • While current studies associate Kinfolk’s slow lifestyle with Instagram’s blend of people and photography, this article seeks to demonstrate how editors, designers, and art directors have extended the visual personality of the magazine

  • One critic — with tongue in cheek — called it ‘the last lifestyle magazine’, drawing our attention to ‘how Kinfolk created the dominant aesthetic of the decade with perfect lattes and avocado toast’

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Summary

Oliver Scheiding

To cite this article: Oliver Scheiding, ‘Indie Magazines as Brands: Aesthetic Communication and Designing the Kinfolk Experience’, Journal of European Periodical Studies, 5.2 (Winter 2020), 46–59

Design and Community
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