Introduction

print is dead is not a statement about media, but about attention.

Fashion editorials have always structured how fashion is encountered over time. They organise sequence, rhythm and emphasis. What matters is not the page itself, but the logic through which images are ordered and read.

print is dead approaches editorial design as a narrative system. One that continues to shape fashion communication across formats.

(DE-)MYSTIFICATION OF FASHION Happening, Photo: Alina Bäcker, Photo 2: Chulgyun Yoo,
Fashion: Jonathan Tschaikoiwski

Editorial as Structure

An editorial is not a collection of images, but a temporal arrangement.

Through sequencing and pacing, editorial design produces meaning across time. Images gain significance through their position in relation to others. A pause, a repetition or an interruption alters how fashion is perceived.

Editorial logic does not present fashion as a singular moment, but as a progression.

Breath Magazine vol 5, Model: Talia Ölker, Photo: Jonathan Tschaikowski

From Page to Feed

The logic of the editorial did not disappear with the decline of print circulation. It migrated. Digital platforms reproduce editorial structures in fragmented form. Feeds, grids and swipe sequences inherit principles of pacing, hierarchy and repetition. The difference lies not in logic, but in speed and scale.

What once unfolded across pages now unfolds across screens. Editorial design adapts, but its function remains: to organise attention and produce coherence within excess.

Models: Hyunjin Lee and Jeonglim Baek, Photo & Layout: Chulgyun Yoo,
Fashion: Jonathan Tschaikoiwski

Working With Editorial Systems

My practice engages editorial structures as material. Rather than treating editorials as formats to be filled, I examine how narrative order produces meaning.

By reconfiguring sequence, disrupting rhythm or collapsing distinctions between image, text and layout, editorial design becomes a site of inquiry. Fashion is no longer presented as a finished statement, but as a constructed narrative open to reinterpretation.

Beyond Print

print is dead does not argue for the return of print, nor does it celebrate digital acceleration. It questions why editorial structures persist and how they continue to shape fashion communication.

By understanding editorial design as a structuring principle rather than a medium, fashion can be read critically across platforms. Attentive to how stories are assembled, paced and controlled.