How Alastair McKimm Is Rethinking Fashion Magazines With ‘Prototype_’

Alastair McKimm dubs the debut issue of his new magazine, Prototype_, a “visual mixtape.” And as he flips through the magazine’s 12 chapters in a SoHo studio, he transitions between sections like a DJ seamlessly crossfading between tracks.

“A lot of people think magazines are not necessary, but that’s the reason that nothing’s curated properly,” said McKimm while thumbing through editorials featuring a range of creatives, from the British rapper Skepta to the LA-based artist Sterling Ruby. “But this is like a time capsule of what’s important to us as a team right now.”

The magazine’s premiere edition, dubbed “Issue Zero,” is 288 pages and retails for $40. It is currently available on Prototype_’s web store and will expand to select retailers, including Dover Street Market, on Sept. 10. It is the first publication that McKimm has fully built from the ground up since his appointment as chief creative officer for Visual Talent Ltd., the British publisher behind titles like Wonderland and Rollacoaster, in January.

Prototype_’s first issue is composed of 12 “chapters,” 24-page sections that McKimm describes as “mini zines” with 20 full-bleed images accompanied by four pages of text. The debut editorial features span from conversations between artist Arthur Jafa and designer Tremaine Emory to one of the first interviews Marc Jacobs has granted since LVMH sold his namesake label to WHP Global.

The first issue also contains no ads or a traditional magazine cover.

“If you want to create a space for freedom, you have to take all of that stuff away,” said McKimm.

That approach is more of a bold starting statement than it is a permanent business model. Instead, McKimm sees the magazine as a “shop window” for VTG Studios, the creative agency that launched alongside the publication in January. The hope is that the agency’s work can support the publication.

“This is our portfolio. The idea of trying to make a sustainable print magazine business is not the idea at all,” said McKimm, who noted the agency has already done work for high-profile clients such as Miley Cyrus — handling the creative direction for the release of her 10th studio album coming later this month.

“What brands are looking for, which is always going to be the case, is great creatives to come up with solutions for how they can create excitement around what they’re doing so they can sell more,” said McKimm, who envisioned future brand partnerships for Prototype_ going beyond a magazine shoot and instead having the studio behind it dive deeper into creative consultation for campaigns, social media or even events.

Approaching the magazine business differently also means reconsidering what distribution. Instead of just releasing thousands of standard copies, chapters from Prototype_’s first issue will also be individually sold as 12 standalone limited-edition zines with covers for $20 each online. One of those 12 zines, which will be priced at $100 and limited to 300 hand numbered copies, will expand on a feature of artist Tom Sachs’ bootleg Chanel exhibition opening in New York City the same week the magazine launches.

Prototype_ will also release collaborative products with each issue. The first release is a $24,000 made-to-order aluminium chair made in collaboration with Pierre Castignola that’s derived from his artwork upcycled out of garden furniture.

“Every six months we’ll have a new product, but also there will be things coming up throughout the year,” said McKimm, who noted Prototype_ is already having conversations with partners about collaborative sneakers or eyewear.

Despite the severe headwinds in print media, McKimm remains unfazed. He points out that the same conversations about print dying off were echoed while he served as the editor-in-chief of i-D, which he said grew in revenue despite crafting a more expensive physical magazine during his tenure.

“What I love when I go to a magazine store is just seeing the output of so many great creatives,” said McKimm. “I know all of the young creatives and talent out there in the world still want to be in print because being on Instagram is not special. But being in a curated publication is.”