GoSee CREATIVES TO WATCH: Hanna Hanra, the Visionary Behind BEAT MAGAZINE, Redefining Fashion and Music – Exclusive GoSee Interview
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Hanna Hanra, founder and Creative Director of BEAT MAGAZINE, has made a name for herself in the creative industry by uniquely blending fashion, music, and culture. Over the past 15 years, she has created a publication that fosters dialogue between these worlds. As the former Global Digital Director of i-D, her expertise in digital innovation has seamlessly influenced her work with BEAT, helping establish the magazine as a prominent voice in the industry.
In 2010, she founded BEAT, a free music magazine printed on newsprint, collaborating with some of the biggest fashion photographers, including David Sims, Alasdair McLellan, Tyrone Lebon, and Ryan McGinley, to create iconic images of both established and emerging bands. Distributed worldwide, the magazine has become a voice for musicians in both the mainstream and the underground. With a quarterly format, BEAT blends cutting-edge trends with iconic moments, showcasing a diverse range of voices and perspectives. It’s not only about the latest creative movements but also about the pioneers shaping them, carving out space for fresh talent and ideas that define the cultural landscape of tomorrow. Cover stars have included Kamasi Washington, St. Vincent, Lorde, Blondie, Little Mix, Josh Homme, and Giorgio Moroder. In 2015, Beyoncé requested to be photographed for the magazine.
A notable aspect of Hanna’s career is her ability to interview and connect with high-profile artists. She persuaded Paris Hilton to have Charli XCX interview her via WhatsApp and convinced Elton John to interview Lil Nas X. BEAT also published the final interview with music legend David Bowie.
With 'Punk Perfect Awful: Beat: The Little Magazine that Could... and Did', Hanna Hanra released a best-of collection of BEAT MAGAZINE in collaboration with Rizzoli. The book brings together ten years of groundbreaking photography and journalism, offering an unconventional look at music and pop culture.
From the start of her career at i-D to her work with BEAT, Hanna has played a key role in shaping the future of fashion and music, leaving a lasting impact on both industries. Her career also includes significant collaborations, such as a global partnership with Chanel, further cementing her status as a tastemaker in creative direction. She regularly writes for The Times, The New York Times, and Vogue.
GoSee : How exactly do the celebrity shoots come about, such as the one with Kylie and Liz Collins (GoSee reported)? Do you reach out to the artists yourself and select the perfect photographer, or how do you approach these shoots at BEAT? HH: Either I have an idea of who is releasing music and pitch it to their publicists, or their publicists come to me. I pitched to do Kylie a while ago, and her publicist came back 18 months later with her next release and asked if I'd do her! Each shoot is collaborative, so I always send a few photographer ideas to the musicians (if they are established like Kylie), but I knew immediately I wanted Liz to shoot her. They had worked together before, and I love working with women. So right off the bat, it was what I wanted.
Please tell us how it all started. What inspired you to create BEAT magazine, and how did you envision it standing out in the crowded world of fashion and music publications?
HH: I started it 15 years ago – music press was really restricted to being about mainstream, already successful popstars in publications like ELLE or skinny boys in NME. There were no queer female music editors, and music magazines tended to focus on the music, not the image of the musician. No one was making a magazine with musicians shot by fashion photographers but without fashion. So I did.
How big is your editorial team at BEAT Mag? HH: Way too small. I do a lot of it, and we have a design team and an editor, and then everyone else is freelance. But everything is filtered through me because I may or may not be a control freak.
What have been some of the biggest highlights or moments of pride for you throughout the journey of publishing BEAT? HH: Well, Beyoncé asking if I would do her. David Bowie asking if we would do him. Lots of new people who have gone on to be amazing stars, like Sampha, XX, Dua Lipa, Charli XCX... But really the best highlights are when artists say things like, "I can’t wait to show my mum" or "I used to put this on my wall, and now I’m on the cover."
What are some of the biggest challenges you faced while building BEAT from the ground up, and how did you overcome them? HH: There’s always something every issue that makes me want to hit my head against a wall – but they are usually quickly forgotten.
As a Creative Director, what aspects of the magazine's creation process do you find most exciting or rewarding? HH: Going to the printers and seeing it come out of the machine always feels like such a sweet relief! But I love coming up with an idea and seeing someone else inhabit it.
How do you balance creative freedom with the commercial aspects of running your own publication? HH: After fifteen years, I know my value. If someone comes to me and wants to work together, there’s a reason for that.
What advice would you give to someone looking to start their own magazine or creative publication today? HH: Good luck! Make it different. Make it have a reason. Make it look good.
How do you stay inspired and continuously push the boundaries of creativity in each issue of BEAT? HH: I love music and photography and understanding how people work and what makes them tick. And then putting that together. It’s an unending pool of excitement, but on top of that, I know exactly what I like visually.
What role do collaboration and partnerships play in BEAT's success, and how do you approach working with other creatives and brands? HH: It’s so important. You have to respect that musicians are not blank canvases; they come with their own visual identities, and photographers also have their own styles. It’s about pushing the envelopes of both, and that’s exciting. When I work with artists directly, outside of BEAT, it’s what I always try and do too – find that point.
Could you share a memorable behind-the-scenes moment or story that really captures the essence of working on BEAT? HH: There are so many. Probably crying next to a bin when I got the call about David Bowie. It’s what he would have wanted.
What is the most fun part of running a magazine, and how does that creative energy keep you motivated? HH: The most fun part is finding new musicians I love and then making them my friends. I love that they love BEAT as much as I do (I hope!)
Magazines often feature stunning editorials, and BEAT is known for its incredible celebrity shoots. There’s so much potential for these visuals beyond the print publication—perhaps a gallery or even limited edition prints for sale. Have you ever thought about how to further utilize these beautiful works beyond their initial print release? HH: We actually just updated our website and last year released a book that's just photos: https://www.beatmag.world/. I’d love to do an exhibition of prints – if anyone wants to fund it, let me know!
Tell us about your book Punk Perfect Awful. What inspired you to publish it, and what can readers expect from it? HH: I’ve sort of always wanted to do an annual and pitched the idea to Rizzoli before COVID. It was quite hard to figure out whether it should be all pictures, interviews, or a narrative. In the end, it’s all three – I’ve written personal essays, and there are four or five chapters that merge into one another. It’s mostly just gorgeous pictures and funny quotes though. It’s really good, and you should buy one if you haven’t already!
What question would you ask yourself as the editor of BEAT in an interview? HH: Would you ever sell out to a bigger publisher?
An you answer? HH: Yes ! Anyone interested? (laughs)
You live in London, at the heart of fashion and music. Where in the city can we find you, and what inspires you? HH: I actually live in Oxfordshire, in the very quiet countryside! The only music I hear at night is often an owl hooting. Maybe that’s why it feels so fresh.
Here’s a sneak peek inside the magazine – for many more exciting projects and editorials, visit https://www.beatmag.world/.
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