One of the main reasons I chose to evolve the business away from the biannual magazine was to give myself more space – space for creativity, for learning, and for a more varied work life. It’s only been eight weeks since the last issue published, but already I’m enjoying the mix of conversations I’m having about new projects and the freedom to explore new ideas.

Choosing a freer path

I recently watched a discussion between writers Emma Gannon and Molly Flatt, and it really resonated. Emma spoke about stepping away from traditional mainstream publishing and the liberation she’s found in that shift. She talked about not wanting to be ‘huge’ or go viral, but instead focusing on making the work she wants to make, for the people who truly connect with it.

For a long time, I thought I wanted 91 Magazine to be world-renowned – as recognisable a name in interiors as Elle Decoration. But over time, I realised that a) it wasn’t likely to happen (!), and b) it wasn’t actually what I wanted after all. When something gets too big, it often stops being manageable for one person or a small team. It risks being taken over, reshaped, diluted. You lose autonomy. You lose the thing you set out to create. And, as Emma hinted at, you can end up working endlessly to please others, with burnout close behind.

I’m not saying I stopped the magazine because it was heading that way – far from it. Financial realities played a part too. But what I did feel was that I’d ended up on a hamster wheel of production. Even at two issues a year, the cycle left little space for anything beyond the next deadline. I still loved creating the magazine, but I missed exploring other ideas and having the time to learn something new.

Falling in love with editorial design

One area I’d been wanting to develop within my own skill set was editorial design – something I’ve picked up a great deal about over the years through working closely with designers. It’s always been one of my favourite parts of making a publication. Over the past six months, I’ve taken courses with the Royal College of Art and on Domestika, and after the final issue went to print, I finally had the headspace to immerse myself in designing the new SEEK INSPIRE CREATE Anthology. A project without a client, without boundaries, where I could simply learn, play and practise.

At the same time, I’ve started talking to other people about their publishing dreams and how I might help bring those ideas to life. Mainstream publishing can feel impenetrable, and for many creatives it seems out of reach. I hope that, together, we can prove otherwise. Just as independent magazines carved out their own space in the world, I believe independent book publishing is growing too – thoughtful, small-batch printing that feels more considered and more special.

Small, independent and boutique

Like Emma said in that interview, I’m perfectly happy staying small, independent and boutique – building a creative life on my own terms, and working with others in a way that feels authentic and collaborative. I’m not chasing a six-figure salary or the pressure that comes with it. I want to earn enough doing what I love to live a content, creative life. That’s enough.

Life is short. Doing what feels right – and building work that feels meaningful – is what brings fulfilment. That’s why I changed things up. It’s taken a little adjustment, but as I write this, I’m realising it’s only been a couple of months. These shifts need time.

I’m excited to work with people who share a belief in considered, thoughtful work – work that is valued, and valuable. Whether it’s a book, a magazine or zine, or something designed to support your business, I’d love to help with design, with words, or with overall publishing guidance.

If this resonates, let’s chat.

Caroline x