PROMINENT is a magazine about fashion, beauty and the culture around them — what was made, who made it, and whether it was any good. It is published in London and reports from wherever the work is.
It is written for readers who were not in the room and want to know what actually happened in it. That means going to the shows rather than to the press release, naming the people whose work is usually credited to a house, and saying plainly when something did not come off. A magazine that likes everything is of no use to anybody.
What we cover
Seven sections, each with a desk behind it and an archive you can read end to end.
- Fashion — the collections and the houses behind them: what was shown, what it was made of, and what it means for the season after this one.
- Beauty — the work that goes on a face and a head before a photograph is taken, and the people who do it. Treated as craft, because it is.
- People — designers, stylists, photographers, casting directors, and the ones who are about to be all four. Interviews and profiles rather than round-ups.
- Culture — the exhibitions, films, books and music that the clothes are in conversation with. Fashion does not happen on its own.
- Events — shows, openings, presentations and the fashion weeks, covered on the ground and reported the same week.
- Lifestyle — what is worth an evening in this city, and how the people in these pages actually live in it.
- World — the same subjects reported from outside London: Paris, Milan, New York, Odesa. Not a foreign desk, and not a translation of a London story — the reporting is done where the work is being made.
How we work
Every issue opens on a cover story and runs in chapters, one to a section, in the order the desk thinks they should be read. The magazine sets as a spread — a photograph on one side, the story on the other — because clothes are looked at before they are read about, and a layout that pretends otherwise is arguing with its own subject.
Photography is not illustration here. Every photograph is credited to whoever took it, in the story and in the structured data underneath it, and pictures are commissioned and edited as reporting rather than dropped in to break up the text. Where an image is the story, it is given the room to be.
Where a piece was made with a house, a brand or a client, it says so at the top of the page and not in small type at the bottom. Nobody buys a review.
Standards, and how to hold us to them
What we will and will not do is written down: our editorial policy covers independence, gifts and press trips, image rights and the use of generated text and images. Our corrections policy says how to tell us we got something wrong, what happens next, and how a change is marked on the piece.
We correct errors of fact on the piece itself, with a note saying what changed and when. We do not quietly edit a mistake out, and we do not take a story down to make one go away.
Write to us
Pitches, corrections, press requests and anything else: the contact page reaches the right desk, and we read everything. If you want to write for us, the submissions page says what tends to work.
You can also follow PROMINENT Magazine where it publishes, and the dispatch goes out from our own desk rather than from an agency.