Get featured in Architectural Digest

Architectural Digest is the reference name in design media, and the one design professionals most want. It is also the title where the usual PR playbook is least useful, because the decision turns on the work and the pictures rather than on the pitch.

What Architectural Digest covers

Houses, apartments, buildings and the people who design them. Architecture and interiors, restorations and new builds, the furniture and objects inside them, and the practitioners whose names are attached to the work.

The framing is aesthetic and narrative at once. A published project usually has an idea behind it that can be explained in a sentence: a material used in an unexpected way, a difficult site solved well, a historic building brought back without being flattened into something generic, an interior that says something about how people are living now.

Scale and budget are not the qualifier people assume. Small projects run. Ordinary rooms run. What does not run is work with nothing to say.

Who realistically gets covered

Architects, interior designers, landscape designers and the makers behind the pieces in a room. Homeowners appear, but usually as the occupants of a project credited to a practitioner, which is why the designer relationship matters more than the owner's enthusiasm.

Furniture, lighting, textile and homeware brands have a separate and more accessible path through product and market coverage, where the decision is about the piece itself rather than the company behind it.

Developers and property businesses can be covered when the building is genuinely interesting. A sales narrative about a scheme is not a design story, and a desk will read the difference in the first line.

One more group is worth naming: makers and craftspeople. A furniture maker, a ceramicist, a plasterer working in a traditional technique, a studio reviving a process almost nobody uses any more. Craft stories travel well at design titles because they answer the question a reader actually has about a beautiful object, which is how it was made and by whom.

Photography decides everything

This is the part most people underestimate, so it is worth stating bluntly. Without a professional architectural shoot, your project does not exist for this desk. Phone images, estate agent photographs and renderings will not be assessed on their merits, however good the building is.

A publishable set means a photographer who shoots interiors and architecture for a living, proper light, a styled and finished space, and images cleared for editorial use with the photographer credited and permissions settled in writing.

Permissions extend to the people involved. An owner who will not be named or photographed limits what can run, and privacy concerns are real and common at this level. Settle that before anyone pitches on your behalf.

Credits are part of the package: the architect, the interior designer, the contractor, the landscape designer and the makers, listed accurately. Getting a collaborator's credit wrong in a submission is a fast way to lose a relationship you will need again.

The routes in

• Earned editorial. An editor commissions or accepts a project. Free, highly competitive, and a decision made inside the title.
• Project submission. A complete package of photography, plans, credits and permissions, sent to the right editor. It gets the work looked at, not published.
• Product and market consideration. For design brands, the realistic first step, judged on the object rather than the business.
• Advertising and branded content. Paid, labelled by the publication, and priced at brand-marketing levels. A different thing from a commissioned feature, as set out in what earned media actually means.

Exclusivity is worth understanding before you start. Design titles often want first publication of a project, so shopping the same shoot to several magazines at once can lose you all of them. Decide your order of preference and work it one at a time.

Lead times work the same way. Print is planned many months ahead and seasonally, so a project finished in summer may be under consideration for an issue much later in the year. Digital moves faster and carries far more, which makes it the realistic first target for most practitioners rather than a consolation prize.

What we do

We look at the work first and tell you honestly whether it is ready. If it is not, the answer is usually a proper shoot rather than a better pitch, and we would rather say that than take a fee for sending something that will be declined.

When it is ready, we build the submission, get the credits and permissions straight, and approach the right editor with it. Nobody sells design editorial, and anyone who says otherwise is worth reading about in is guaranteed PR legit before you pay them. If you want to talk through a specific project, get in touch.