image: doingbird#twelve cover
(Natasha Poly // Photographed by Alasdair McLellan //Styling Kim Jones)

Malcolm Watt - doingbird // Interview

doingbird is a Sydney based fashion/culture magazine (edited by Max Doyle, Malcolm Watt) that maintains an international outlook and editorial opinion that seemingly often sidesteps local readership. Jeff Burch speaks with one-half Malcolm Watt about the drivers behind the periodical.

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In the context of Australian based magazines doingbird appears to be one of the few that really competes editorially (and also in terms of art direction) at an international level. What was yours/Max’s intention when you started and has it changed over the last few years?

We’ve always wanted to create something that challenged others and ourselves. Our standard was not dictated by the Australian magazine market and what already existed here — inspiration came from abroad.

Max has mentioned before that when you guys were starting out you were in a state of limbo as to what to produce – tossing up between what is now doingbird and a black and white photocopied zine? What made you decide on the format?

I love how effortless and enthusiastic zines can be. Max initially suggested the idea of doingbird being that accessible. It was all about a simple approach; a tight edit of stories, nothing complicated print wise. As we started conceptualising our first edition and conversing with potential contributors it seemed that it would be better to produce a more ambitious publication. We spent a long time working on the tone of the magazine.

I’m a traditionalist and decided on the most conventional of formats (American Quarto as per American Vogue). We used the quality of art books as a print reference for our printers. We were determined to keep the magazine’s content as unique as possible as there were no rules that we needed to adhere to.

Image: Collier Schorr

Are you still challenged by that American Quarto format? I feel like you are still very much deconstructing that.

The physical format of a magazine can be kept simple and it’s content can continue to subvert a reader’s notion of what to expect from a magazine.

How hard it is to operate something internationally driven in a city like Sydney? Do you think that local readership is limited by the small amount of input from creatives here? And if so, do you really mind that?

It’s a double-edged sword being based in Australia. We live and publish here but our content can be from anywhere, it just has to be as refined as possible. We pursue content from people we admire internationally; we’re not another American/European title so contributors don’t have to enter into magazine politics when dealing with us.

At the same time I find it increasingly difficult to communicate efficiently with people in other countries and time zones: the distance makes certain, somewhat simple exchanges difficult. Email is completely necessary to be able to publish but it does erode ones ability to communicate face to face with others.

I think that we’ve had detractors who don’t see the magazine embracing Australian content in a way they’d like to see. A magazine’s responsibility is not to take the near enough is good enough approach. If you live in Australia why would you only be interested in Australian content? Does anyone really want to be that parochial?

If something is iconic then it’s of interest—it’s not about where it’s from. How many magazines would publish a 16 page series on Sharpies (a subculture that emanated from Melbourne in the ’70’s) in there first edition as we’ve done.

Do you find it difficult at all to get support from the industry here because of that?

Advertising is the only industry that we need support from and as we’re not a charity we’re not talking about one-sided support. doingbird can be a bit of an undefinable entity to a media agency making monetary decisions on behalf of a client. Our content is quite varied and not especially safe, conventional or palatable so we aren’t necessarily understood by individuals who make such decisions so we really respect those advertisers who commit to us.

If the fashion industry is what we’re speaking about then we hope we could be relied upon to celebrate and highlight fashion that’s impeccable and accomplished. On some occasions we face indifference—which isn’t so productive when the magazine (with distribution to Tokyo, the States, London, Berlin, Paris and increasingly through other parts of Europe) could introduce a label editorially to people elsewhere.

Obviously there are copious fashion led magazines currently available. What are you striving to create/establish culturally or otherwise with the magazine, and how do you think this differs from the large number of the periodicals dictated by advertising?

I hope we create something that’s covetable and worth purchasing.

Mainstream magazine titles in this country cannot be seen as especially inspirational to all people at any particular time. Obviously they have a different agenda to a niche title—they are businesses where profit rules. So saying that, I don’t think advertising support limits creativity if you choose to work with advertisers who you admire and respect.

Yes, I’m interested to know how you maintain that line tastefully?

I like the challenge of creating editorial that is specifically tailored to advertisers. You will see advertisers being supported in any magazine you read, there’s no loss of integrity if you create editorial that’s unique and not dictated by the brand. An enlightened advertiser who’s output is extraordinary will provide a magazine with ample opportunity by which you can show what they do in new ways.

You also design the magazine, don’t you? What are the most important considerations you make when putting it together?

The magazine’s pages must be refined, considered and not overly designed. doingbird isn’t the right vehicle for too much typography. Often it’s about what’s left out—at other times it’s the decision to be more indulged that makes a series more interesting.

Images: left: Hedi Slimane, right: Richard Burbridge

You pursue many talented or ‘big-name’ creatives for your magazine – one that is based on the other side of the world to most of them – how have you made this happen over the years?

Persistence definitely helps; I never ever give up in certain instances! Also I would hope we’re consistent in the quality of our editorial and printing and so we’re seen as worthwhile to the people we want to work with.

Is maintaining that difficult if you want to introduce newer talent as-well as more established names?

No, it’s a magazine so you may always be reaching forever upwards but you’re also evolving; mixing the new with the old and introducing new ideas in unexpected ways. If you create a mix of work that is distinctive you don’t need to justify your reasons for publishing it to anyone.

Max just showed me the new issue, it looks really great and seems a lot denser than #eleven. I’ve noticed in this issue there seems to be more focus on music and art too, elements of the magazine that can add more depth to the outcome as a whole, how important is art and music to you and how do you see it’s relation to fashion?

Culturally, music, art and fashion have always been notable ways people express the human intellect and that’s what you’re forever wanting to celebrate in a magazine. One can influence another completely or they may never intersect. I love that obsessive devotion that music, in particular evokes and especially the subcultures that arise from such admiration. The points of intersection that result from fashion, art, music and pop culture merging and mutating could be discussed ad infinitum!

doingbird has been going for quite sometime now, can you tell us a bit about the new issue, and what it marks for you?

I’m quite proud of our 12th edition’s contributors; it shows a respect for the magazine from some powerful entities. Contributors to the issue include designers Helmut Lang, Rick Owens, Ann Demeulemeester, Hedi Slimane, and Pierre Hardy. There are conversations conducted by Sarah Mower and Tim Blanks and words from the makeup artist Pat McGrath, who’s one of the most incredible creatives.