A Print Publication
Noén, an Intimacy Company

Editor-in-Chief, Art Director, Designer

A print
publication

External Collaborators:

Anne Verhallen
Claire Graybeal
Justin Thomas Kay

Volume I:

Artists

Aks Misyuta, Elizabeth Glaessner, Christopher Hartmann, Ser Serpas, Kacy Keffers, Hiba Schahbaz, and Iva Lulashi, Max Papendieck, Alex Moore, Angelique Kalani Axelrode

Contributors

April Gainer and Alida Gagliuffi

Volume II:

Artists

Fawn Rogers, Larry Madrigal, Marilyn Minter, Natalia González Martín, Omer Gilony, Suzanne Saroff

Restaurants + Chefs

Aisa Shelley (Casino, Cassetta), Ignacia Valdés (Tokyo Record Bar), Joey Scalabrino (Apollo Bagels), Salvatore Carlino (Lucia Pizza), Tara Thomas, Ray Lee (Happier Grocery), Kyle & Katina Connaughton (Single Thread)

Contributors

Daniel Emilio Soares, Emma Colangelo, Erin Bazos, Gabriel Cabrera, Jacquelyn Owen, Jodi Moreno, Joe Pugliese, Kenny Morifi-Winslow, Kacie Paganelli, Russell Markus

Most brands launch with a product. Noén launched with a publication.

Volume II is the second edition of Noén's annual print magazine — 130 pages, sold in a run of 500, it’s pages available nowhere online.
This volume takes food as its subject: the intimacy of preparing a meal with your hands, sharing a bite, a gaze, a story, a touch. It asks a simple question — what does it mean to feed each other, and ourselves? And, hands that question to artists, chefs, photographers, and thinkers to answer in their own terms.
The publication was curated by Anne Verhallen and features work by Fawn Rogers, Larry Madrigal, Marilyn Minter, Natalia González Martín, Omer Gilony, Suzanne Saroff, and others. It was co-designed with Claire Graybeal and Justin Thomas Kay.
For a young brand with limited paid distribution, a print magazine is a counterintuitive investment. It's also a precise one.
Social media compresses everything — the image, the idea, the attention span. A print-only publication does the opposite. It slows the reader down, demands presence, and signals that the brand has something to say that won't fit in a caption. In a category flooded with digital noise, offline became the differentiator. Print became the luxury signal. The magazine wasn't just marketing, it was a product in its own right, and it sold like one.

Both volumes sold out at 500 prints each.

The contributors alone carried the launch further than any paid campaign could have. With a combined 2.1 million followers across contributing artists and 12.5 million across VIP guests at launch, the magazine moved through networks that advertising can't buy — tastemakers, collectors, editors, and cultural figures who shared it because it was genuinely worth sharing. The launch reel drew 87,000 plays. Post-launch impressions reached 481,000.
Among the contributors: Steve Jobs' portrait photographer, The Gilded Age's footman-turned-clockmaker and Nathan Lane's co-star on Broadway, and Marilyn Minter — the artist behind some of the most charged and culturally significant image-making of the last three decades. These are not influencer relationships. They are peer relationships, built on the credibility of the work itself and a credit to those involved in the production.
Volume II proved that a brand a year old could operate at the level of an established cultural institution — not by spending like one, but by thinking like one. The publication gave Noén a platform with depth, a voice with range, and a reason for serious people to pay attention.

Marisa Goldstein

portraits [ 0 ]

an intimate brand [ 1 ]

the artist’s campaign [ 2 ]

a print publication [ 3 ]

a new health platform [ 4 ]

the future of Dri-FIT [ 5 ]