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Dan Crowe

@mrdancrowe

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Editor & Publisher of Port magazine and INQUE Editions. Director of Prose.london

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Love this cover with Ebon Moss-Bacharach, what a dude - a great insider conversation with his (and Port’s) friend @josephquinn
As told to @hello.kacie
Photography @mahaney_mark
Styling @chloehartstein
Grooming @kumicraig
Production @theproductionfactory

Editor-in-chief @mrdancrowe
Associate publisher @andrewchidgey
Creative director @mcurtis1
Deputy editor @benji.johnson_
Fashion director @mitchellbelk
Photography director @amaraeno
Art director @ed__seymour
Production director @carlyrgray
Senior editor #KerryCrowe
Talent/Casting director @tommacklinstudio
Production manager @jackstacye by @mrdancrowe

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2

19 hours ago

A little bit of publishing heaven. Oz magazine, issue 26, February 1970. A glorious collision of psychedelic design, radical politics, rock ’n’ roll, sexual revolution and the occasional completely unhinged editorial decision.
Founded in Australia by Richard Neville and his collaborators before arriving in London in 1967, Oz became one of the great publications of the underground press. Its orbit included Martin Sharp, Germaine Greer, Robert Crumb, Jim Anderson and Felix Dennis, who would later build one of Britain’s great publishing empires. Quite a masthead!
I love the sheer visual anarchy of these pages. Tiny type, enormous illustrations, extraordinary colour combinations (I think a silver on the cover), and absolutely no interest in making life easy for the reader. Bob Dylan gets a wonderfully irreverent examination, while Michael X and the counterculture rub shoulders with poetry, politics and assorted provocations. Every spread feels like someone has had an idea at three in the morning and decided it absolutely must, immediately, go to print.
One particularly wonderful piece of publishing history: in this very issue, the editors, concerned they were becoming old and boring, invited readers under 18 to take over the magazine. The resulting Schoolkids Oz, issue 28, would lead to the infamous 1971 obscenity trial.
There’s something thrilling about a magazine that was so completely of its time, yet still feels more adventurous than almost anything on the newsstand today. Messy, intelligent, funny, occasionally ridiculous and utterly fearless.
More magazines should be a little bit dangerous. by @mrdancrowe

64

2

5 days ago

'I love this issue: it's passionate, opinionated, weird, and at times infuriating.'

— Dan Crowe, Edition 2.

Illustration: Lucy Jones.

@dancrowe @lucy.j.o.n.e.s by @mrdancrowe

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1

12 days ago

Before 24-hour news cycles and digital feeds, there was the tangible weight of newsprint. Looking back at Rolling Stone, September 12, 1974, it’s a masterclass in 1970s editorial design. Art Director Tony Lane and Chief Photographer Annie Leibovitz captured a seismic shift in American history with stark (“You screwed this up!”) realism.
From the full-bleed, unvarnished cover portrait of Richard Nixon (“The Quitter”) to the cinematic 4-frame contact-sheet layout of his final White House departure, the visual narrative relies heavily on brutalist framing, serif typography, and tight three-column body text.
Inside, the layouts balance political gravitas with counterculture music coverage - placing Nixon’s resignation right alongside articles on Brian Eno’s experimental art-rock and the passing of blues icon Lightnin’ Slim.
Music press documenting / influencing the wider culture...

#RollingStone #EditorialDesign #GraphicDesignHistory #AnnieLeibovitz #PrintDesign Typography by @mrdancrowe

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2

17 days ago

Research for a new magazine! I love early Interview. The sheer confidence of it: enormous type, huge photographs, and interviews allowed to run and wander without being hurried towards a point.
In this issue, Andy Warhol and executive editor Bob Colacello spend time with Jack Nicholson, and the conversation seems to move with them - from restaurant to party, apartment to another party. It rambles brilliantly through politics, music, movies, people, food, gossip and whatever happens to come up next. It feels less like an interview than being allowed to tag along for the night.
And the photographs by Art Gallant are wonderful: dark, grainy, moody and given space. There’s something about it from this period that feels incredibly modern now - loose, glamorous, intelligent, slightly chaotic and completely unafraid of taking up room. A reminder that sometimes the best editorial strategy is simply to find fascinating people, give them space and not interfere too much. Just great. by @mrdancrowe

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19 days ago

Issue 3 of @inquemag — probably the issue we spent the most time creating. It was certainly the one that took the longest to design by @MrWilley. Hey, I’m not judging, Matt.

Inside you’ll find an extraordinary (and lengthy) interview with iconic American artist Jim Dine (@jimdinestudio), conducted by his grandson @AugustDine. There’s also a sharp conversation between Gary Shteyngart (@shteyngart) and the spirit of Anton Chekhov — plus a feature on the phenomenal author Aleksandar Hemon (@cielohemon), interviewed by @rebeccarukeyser.

There’s fiction from leading voices like Jonathan Lethem (@jonathanlethem), Maya Binyam (@mayabinyam), Rita Bullwinkel (@ritabullwinkel), @budsmith, Shuang Xuetao, Amalia Ulman (@amaliaulman), and Alexander Chee (@cheemobile).
Non-fiction pieces come from a rich array of minds, including ‘erotic dissident’ @lias_saoudi, @sachinkureishi, @edmunddewaal, Bruce Robinson, Adania Shibli, Anthony Anaxagorou (@anthony_anaxagorou), @philip_hoare, David Keenan (@reversediorama), Noreen Masud (@noreen_masud), @fergus_nosetotail, @wernerherzogofficial, and Will Self…

You’ll also find beautiful photography by Agnes Lloyd-Platt (@agnesvita) and @chieskafortunesmith, with artwork by @paulcopyrightdavis and illustrations from @pablodelcan.

Contributing editors include Cillian Murphy, Adam Moss, and Wesley Morris (@wsslyy). Senior editor: Dennis Zhou. Sub editor @maddiecrum

There are only a few copies left of this — issue 3 of 10. Head over to inquemag.com to grab 1, 2, or 3 issues while they still exist…

Special thanks to @thelogicalchoicestudio. by @mrdancrowe

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10 months ago

Issue One of Port still feels to me, 15 years after launching, electric - a document of blind enthusiasm held together by instinct rather than infrastructure. When we launched in 2011, there was no safety net. No investment, no guarantees - just a monthly oscillation between conviction and quiet panic. Only later did advertisers begin to circle, and with them came a degree of steadiness. Eventually.

What we were attempting - a conversation between design, literature, taste and style - wasn’t entirely without precedent, but it felt, at the time, oddly unclaimed territory. There was something of Esquire’s late-60s bravado in the mix, a willingness to let strong voices carry the pages; a touch, too, of Nova’s editorial curiosity, its refusal to stay in one lane; and perhaps a distant echo of National Geographic, in the sense that reportage and image-making were treated as equal acts of discovery.

The design by @mrwilley and @kucharswara struck a balance I still admire: pared back, but never polite - graphic without shouting. It gave the magazine a sense of permanence, of being something to keep. @brigittelacombe’s portrait of Day-Lewis on the cover helped too.

And then there were the contributors. Jon Snow, Robert Hughes, @samanthamorton - voices you didn’t expect to find sharing the same space - alongside Daniel Day-Lewis reporting from Gaza and timeless fashion shoots by @dstjohnjames. Will Self contributed one of his finest short stories, while @robinbeebee and @fredericlagrange turned their lenses on the poetry of objects and landscapes, from intimate still lifes to the vastness of Greenland. Elsewhere, @margarethowellltd wrote on the duffle coat with characteristic precision, and @marcusdusautoy on the beauty of mathematics. I had a long lunch with our Food Editor Fergus Henderson @st.john.restaurant ...

At that point, Port was a quarterly. Now, as a biannual, the rhythm is slower, more deliberate. But looking back, I’m struck by the simplicity of that debut: the watercolours, the subtle nod to Swiss modernism, and the unspoken truth that we were inventing the rules as we went.
It shows. And that’s precisely why I still love it. by @mrdancrowe

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6 months ago

LaKeith Stanfield (@lakeithstanfield3) has built a career on unpredictability. From the surreal satire of Sorry to Bother You to the fury of Judas and the Black Messiah, he’s never stayed in one lane. For Issue 37, the cover star talks to Simran Hans (@simranhans) about fatherhood, fearlessness and stepping behind the camera for the first time – plus his latest roles in Shane Black’s noir Play Dirty and Lynne Ramsay’s Die, My Love.
Stanfield wears @paulsmithdesign, excerpt below:
Friendliness goes a long way in Stanfield’s world. “I don’t really like impersonal relations,” he explains. It’s why he’s not a big fan of New York City, where he’s just flown in from.
“When there are a lot of people around, we might as well say hello to one another,” he says. I can picture it now: Stanfield in the middle of a crowded Times Square, waving affably, jostled by unimpressed passers-by. “When I go to New York, I’m pretty much the only person with that thought,” he jokes. When asked if that impulse comes from his family, he pauses. “I don’t think so. They weren’t particularly polite,” he says, laughing. “I think it’sjust me.”
Head to the link in bio to read the full story and pre-order your copy.
Photography @internetbby
Styling @anna_schilling
Photography assistant @khalilah.pianta
Grooming @tashareikobrown using Chanel Beauty
Production @hyperion.la
Editor-in-chief @mrdancrowe
Associate publisher @andrewchidgey
Creative director Matt Curtis @uncommon_london @mcurtis1
Deputy editor @aylaangelos
Fashion director @mitchellbelk
Photography director @colesontoast
Art director @ed__seymour
Production director @carlyrgray
Talent/Casting director @tommacklinstudio
Production manager @jackstacye by @mrdancrowe

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0

a year ago

Introducing Port Issue 37 and the first of six cover stars – Benedict Cumberbatch. After working on the new adaptation of Max Porter’s (@maxmaxporter) novel Grief is the Thing with Feathers, Cumberbatch sits down with the writer to talk about grief, fatherhood, and how to live and create in chaotic times.
Cumberbatch wears @prada.
Excerpt below:
Max Porter: One night I was robotically stirring risotto and I didn’t hear him come in. I had been crying a lot, but I wasn’t crying at that moment. My son wrapped his arms around me, held me for about three minutes, then left the room. It was exactly what Feathers is about.
A non-verbal, instinctual benevolence. He recognised I needed it. My ability to grieve for that faraway child I’ve never met is connected to my ability to love this one. There is no empathy gap to be crossed. It’s all in me. It’s the pain that is thrust upon me. As he says in the book, ‘let no man cease to fix it.’ It is how I love. May we hurtle back into our family units, covered in the scars and thickets and bristles of the work, and let them see it. Let them soak it up. Let them know that we’re weird.
Benedict Cumberbatch: It’s been amongst many fears of raising children, the fact we both have three boys. This is a story of male grief – what men feel or don’t allow them-selves to feel, and the damage done. We are living through a culture of that. One of the most important things to teach boys is that it’s fine to feel. You are strong in vulnerability.”

An extraordinary interview…

Photography @matt_healy_studio
Styling @reubenesser
Grooming @wakana_yoshihara
Production @theproductionfactory
Photography assistants Cameron Jack and Leigh Skinner
Styling assistant @mayuuufukuda
Editor-in-chief @mrdancrowe
Associate publisher @andrewchidgey
Creative director Matt Curtis @uncommon_london @mcurtis1
Deputy editor @aylaangelos
Fashion director @mitchellbelk
Photography director @colesontoast
Art director @ed__seymour
Production director @carlyrgray
Talent/Casting director @tommacklinstudio by @mrdancrowe

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a year ago

“How did America become so openly nasty? Why are there so many hate groups? This cover drawing is a verbal picture of the daily sounds of America.”

So begins Paula Scher’s explanation of her cover art for INQUE, Issue 2 (of 10), 2023.

Also in this issue:
@stevenfry, Natasha Brown (@wordsbynatasha), @pablodelcan, @willself, @nicholsonbaker, David Keenan, @reversediorama, @lauren_elkin_, @edmunddewaal, @paulcopyrightdavis, @chieskafortunesmith, @mark_haddon, Leanne Shapton (@shaptonia), Ben Lerner, @rupert_thomson, @philip_hoare, @nzeluwrites, @johnedgarwideman, @joycecaroloates3146 — and many more.

Design & Art Direction: @mrwilley
Contributing Editors: Harriet Moore, Cillian Murphy, Adam Moss

Print Management @thelogicalchoicestudio

A passionate, large-format issue with multiple paper stocks — at times infuriating, sometimes seemingly at odds with itself. Which, honestly, feels exactly right. by @mrdancrowe

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9 months ago

Best known for his roles in The White Lotus, One Day, and Nuremberg, our final cover star, Leo Woodall (@leowoodall), has quickly built a reputation playing himbo heartthrobs and knotty, amoral characters alike. Catching up with the legendary #RachelWeisz, Woodall considers what attracts him to acting out inner turmoil, his love for spontaneity and “naughty” snacks.

Woodall wears @valstarofficial and @jimmychoo. Excerpt below:

Rachel Weisz: It sounds like it’s playing with different genres. It’s not your ‘trad’ heist movie because it’s got this wounded artist at the centre of it.

Leo Woodall: One thing that the movie tries to explore is something I think a lot of people, particularly people in our industry, can relate to. If there’s one thing that you feel is your purpose and have a gift for and a passion for – what if that was taken away from you? Who would you be?

Interview #RachelWeisz
As Told To @jennamahale
Photography @angalisfield
Styling ian__mcrae
Set design @ccuulleenn
Grooming @nicoleellemakeup using @neurae and @rozhair
Production @theproductionfactory
Special thanks to #ShelterPR

Editor-in-chief @mrdancrowe
Associate publisher @andrewchidgey
Creative director @uncommon_london @mcurtis1
Deputy editor @benji.johnson_
Fashion director @mitchellbelk
Senior editor Kerry Crowe
Photography director @amaraeno
Art director @ed__seymour
Production director @carlyrgray
Talent/Casting director @tommacklinstudio
Production manager @jackstacye by @mrdancrowe

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4

5 months ago

Been a big fan of Headie One for a while now so thrilled to have him on the cover of Port. After nearly a decade at the forefront of UK rap, Headie One (@headieone), who has a longstanding relationship with Hublot (@hublot), reflects on growth, ownership, and the quiet discipline behind longevity with Greg McKenzie (@gregmcinsta). Our fifth cover star, currently finishing his new mixtape, is careful not to chase moments, instead favouring something built to last beyond the cycles of hype.

Headie wears @hublot throughout. Excerpt below:

“One thing I had to unlearn early,” he says, “is taking things personally. Where I’m from, there’s this mindset where if you do something for someone, it should be reciprocated,” he explains. “Like actions and feelings have to match.”

It’s a familiar code – one rooted in loyalty, but also expectation.

“But that way of thinking,” he continues, “can take away from your blessings.”

Instead, Headie speaks about intention. About giving without needing immediate return. About understanding that not everyone operates from the same place…

@headieone
Words @gregmcinsta
Photography @jessecrankson
DOP @al3xtang
Styling @calvinhow
Grooming @bysky.hair
Production @theproductionfactory
Special thanks to @hublot

Editor-in-chief @mrdancrowe
Associate publisher @andrewchidgey
Creative director @uncommon_london @mcurtis1
Deputy editor @benji.johnson_
Fashion director @mitchellbelk
Photography director @amaraeno
Art director @ed__seymour
Production director @carlyrgray
Senior editor KerryCrowe
Talent/Casting director @tommacklinstudio
Production manager @jackstacye by @mrdancrowe

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2

5 months ago