In a world of digitally facing content and the constant push toward online mediums (exclusively), the fate of print publishing hangs in the balance. Though there are many standout creatives, publications, and collectives who continue championing the value of, and working within, the world of print media. Some call it a dying industry, and while this point may have some merit, others refuse to bend their creative inclinations and wider dreams. Instead they use this ambiguity as a springboard to innovate. To create in new directions. Bringing renewed interest to the medium in the form of less frequent (and more sustainable), annual releases, as they blend the digital with the physical.
perediza is one of these many publications that is seemingly always innovating, constantly pushing the boundaries of what it means to work in the arts. perediza routinely expands its vision whilst holding steadfast to its purpose and goals – all in an effort to prop up their team, game-changing ideas, and external communities. Diego Fernandez, or @dairy_fucking_king is the publication’s Art Director, independent curator, and all-around force to be reckoned with in London’s vast creative scene. For the magazine’s latest launch event, which took place in late 2025, he did something radical, and turned Issue IV’s table of contents into a living art installation.
When speaking with Fernandez, he shared that the concept was directly “inspired by Deleuze and Guattari’s (1980) Assemblage Theory” as well as his “personal and deeply rooted love for the ‘table’.” Fernandez is not only perediza’s Art Director but also an independent art curator who works across various projects with many artists across London. He further expressed, “The installation was both a celebratory piece and a reflection of the amalgamation of stories, thought processes, intellectual, technical and artistic work that comprises the creative and nurturing process of putting together the latest issue of perediza.”
The publication not only focuses on topics like fashion, art, and culture, but also the natural environment and philosophy – bridging gaps between industries that are often felt, known even, but seldom spelled out through calls to action and critical analysis. Of course, there was no better way to express the contents of such a well-defined, established collection of interconnected ideas than to present it in the format of a living exhibition. Upon firstly acknowledging what lay before myself and other guests at the launch event, this interpretation of the table of contents immediately grabbed you.
Somewhat arresting at first, we walked into the back room of Shreej Newsagents to witness a table adorned with items emulating different dishes of a meal perfectly laid out, ready to be devoured. The arrangement was set on a circular table, eloquently positioned across a white tablecloth as it draped over the surface. Each of the artefacts represented different features within the wider table of contents. You were able to engage with the material even if you hadn’t had the chance to open the magazine yet, connoted with a little brown notecards, the items were intricately labeled – their purpose explained. The installation included a human bust made of ceramic, metal candle sticks with red ribbon, a lime on top of a book, fresh cherries, and a singular red rose, for example.
Onlookers, unbeknownst to them, entered a partially formed sequence: something tactile, and yet completely abstracted from the wider publication’s layout. The full meaning was only revealed upon opening Issue IV: The Burgundy Issue itself. Fernandez expressed that this was exactly the purpose behind the display. Drawing a parallel, “between the act of gathering and sitting down at the table to eat and sitting down and reading the magazine,” he continued: “Just like how we consume, digest, and process our meals at the table, at perediza we aim for people to slow down”. The publication takes a critical lens to topics otherwise glossed over, or left to fall through the cracks… “the objects at the table are meant to carry and represent the different voices, personalities, and the people behind the contents found on the pages of issue IV.”
Taking place at Shreej News in Marylebone, London – the latest launch was absolutely jam-packed. There was little, if any, extra room to pop around the otherwise demure and collected bookshop. Guests and collaborators became interwoven – physically entwined by proximity, but also by the electric energy running throughout the room for a few hours that evening. In many ways, it became a direct representation of the community that perediza builds and maintains.
Perediza is a publication dedicated to exploring the bigger picture through a critical lens, with the hope of not only inspiring creativity and conversation, but impact far beyond London. This is a publication that has the potential to shift perspectives around the world, and you’ll want to make sure perediza stays on your radar.