The Rise, Reign, and Reinvention of Lodown Magazine
Constantin Peyfuss
Article
,
Share this story ...
For over two decades, Lodown Magazine was more than just a magazine—it was an emblem of cultural synthesis. Founded in 1995 by Thomas Marecki, better known as Marok, the Berlin-based publication transcended the boundaries between pop culture and alternative lifestyles, achieving what few magazines could: it stayed true to its underground roots while capturing the zeitgeist of a rapidly globalizing world.
As Lodown published its 100th and final issue, its departure marked the end of an era, but the legacy of its eclectic, rebellious spirit remains intact.
A Vision Born from the West Coast
Before Lodown, Marecki was a graphic designer and graffiti artist who absorbed the dynamic energy of California’s DIY culture. In the early ’90s, he worked with the iconic Ray Gun Magazine, where the unconventional designs of David Carson blurred the line between form and content. “California taught me to look at creativity differently,” Marecki recalls.
“It wasn’t just about what you made but how you made it—authenticity mattered more than polish.”
When Marecki returned to Berlin in 1995, the city was alive with post-reunification energy, its streets teeming with artistic experimentation. Inspired by the West Coast’s zines and surf culture, he envisioned a magazine that could channel the vitality of Berlin’s underground. Lodown Magazine für Popkultur und Bewegungskunst—a magazine for pop culture and the art of movement—was born.
The debut issue, self-financed and cobbled together with the help of friends, set the tone for what Lodown would become: a bold, visually inventive, and fiercely independent platform that celebrated skateboarding, street art, music, and more. Written in English and distributed globally, it had an immediate appeal, offering a window into Berlin’s vibrant subcultures for readers worldwide.
Sebastian Haslauer - Lodown 100
Unclassifiable and Always Ahead
Lodown quickly earned a reputation for its refusal to be boxed into a single category. Each issue was an unpredictable mix of visual artistry and cultural commentary. Marecki described it as a magazine “dedicated to pop culture and the art of movement,” but even that broad definition couldn’t capture its essence.
While it often showcased street art and skate culture, Lodown never allowed itself to become synonymous with any one scene. The magazine’s early embrace of street art, for example, culminated in a groundbreaking 2001 interview with Banksy—long before the artist became a global phenomenon. Yet, as street art entered the mainstream, Lodown pivoted away. “We didn’t want to be pigeonholed as a street art magazine,” Marecki explains. “Relevance wasn’t our goal. We wanted to explore the new and unknown, not follow trends.”
This ethos extended to the magazine’s design. Every issue felt like a new experiment: layouts were dismantled and reassembled, typography morphed, and visuals dominated.
“The visuals weren’t just decoration—they were the language”
Artists like Stefan Marx, Takashi Murakami, and Michael Jordan shared pages with underground icons, making Lodown a bridge between pop culture and the avant-garde.
Tom Sachs - Lodown 100
From Activism and Naivety to an Institution
Marecki often described the magazine’s early years as a blend of “activism and naivety.” With no blueprint and minimal resources, Lodown thrived on the energy of its community. “It was about making something because we believed in it,” he says. That belief carried the magazine to a circulation of 40,000 at its peak, reaching readers from Tokyo to Los Angeles.
As Lodown matured, it retained its irreverent edge, even as it became a cultural institution. It hosted exhibitions, published special editions, and collaborated with major artists. The magazine’s visual identity became iconic—flamboyant, experimental, and unmistakably Lodown.
Martin Lange, Eddie Otchere, Andrew Jeffery Wright - Lodown 100
The End of Print, but Not the End of Lodown
The announcement of Lodown’s 100th issue as its final edition was met with sadness but little surprise. By 2016, the decline of print media was an undeniable reality, particularly for niche publications. Marecki cites the changing landscape as a key factor. “The magazine market of the ’90s and 2000s doesn’t exist anymore,” he says. “People now prioritize viral content—cat videos with millions of views—over art and culture. Print has become unsustainable for what we were doing.”
Yet Marecki is adamant that this isn’t the end of Lodown’s story. “The 100th issue is a turning point, not a final farewell,” he insists. The Lodown brand will live on through books, special editions, and conceptual projects like TRAPHIC, Marecki’s visual exploration of contemporary networks and codes.
A Magazine’s Legacy, an Artist’s Journey
Looking back, Marecki sees Lodown as more than a magazine—it was a cultural laboratory. Its pages offered a space where artists, writers, and designers could experiment freely, shaping the dialogue around art, skateboarding, and music. “We didn’t just reflect culture; we helped shape it,” Marecki says.
As for what’s next, Marecki likens himself to a surfer waiting for the next wave.
“I don’t know exactly where I’m heading, but I know I need to keep moving”
Whether through publishing, design, or graffiti, his restless creativity ensures that the spirit of Lodown will persist.
Lodown may have published its last issue, but its impact endures. It wasn’t just a magazine—it was a movement, a mindset, a reminder that the best art comes from those willing to take risks. And while its pages may no longer grace newsstands, its ethos continues to inspire. For Marecki, as for the countless readers and artists who passed through Lodown’s orbit, the journey is far from over.
The Rise, Reign, and Reinvention of Lodown Magazine
Constantin Peyfuss
Article
,
Share this story ...
For over two decades, Lodown Magazine was more than just a magazine—it was an emblem of cultural synthesis. Founded in 1995 by Thomas Marecki, better known as Marok, the Berlin-based publication transcended the boundaries between pop culture and alternative lifestyles, achieving what few magazines could: it stayed true to its underground roots while capturing the zeitgeist of a rapidly globalizing world.
As Lodown published its 100th and final issue, its departure marked the end of an era, but the legacy of its eclectic, rebellious spirit remains intact.
A Vision Born from the West Coast
Before Lodown, Marecki was a graphic designer and graffiti artist who absorbed the dynamic energy of California’s DIY culture. In the early ’90s, he worked with the iconic Ray Gun Magazine, where the unconventional designs of David Carson blurred the line between form and content. “California taught me to look at creativity differently,” Marecki recalls.
“It wasn’t just about what you made but how you made it—authenticity mattered more than polish.”
When Marecki returned to Berlin in 1995, the city was alive with post-reunification energy, its streets teeming with artistic experimentation. Inspired by the West Coast’s zines and surf culture, he envisioned a magazine that could channel the vitality of Berlin’s underground. Lodown Magazine für Popkultur und Bewegungskunst—a magazine for pop culture and the art of movement—was born.
The debut issue, self-financed and cobbled together with the help of friends, set the tone for what Lodown would become: a bold, visually inventive, and fiercely independent platform that celebrated skateboarding, street art, music, and more. Written in English and distributed globally, it had an immediate appeal, offering a window into Berlin’s vibrant subcultures for readers worldwide.
Sebastian Haslauer - Lodown 100
Unclassifiable and Always Ahead
Lodown quickly earned a reputation for its refusal to be boxed into a single category. Each issue was an unpredictable mix of visual artistry and cultural commentary. Marecki described it as a magazine “dedicated to pop culture and the art of movement,” but even that broad definition couldn’t capture its essence.
While it often showcased street art and skate culture, Lodown never allowed itself to become synonymous with any one scene. The magazine’s early embrace of street art, for example, culminated in a groundbreaking 2001 interview with Banksy—long before the artist became a global phenomenon. Yet, as street art entered the mainstream, Lodown pivoted away. “We didn’t want to be pigeonholed as a street art magazine,” Marecki explains. “Relevance wasn’t our goal. We wanted to explore the new and unknown, not follow trends.”
This ethos extended to the magazine’s design. Every issue felt like a new experiment: layouts were dismantled and reassembled, typography morphed, and visuals dominated.
“The visuals weren’t just decoration—they were the language”
Artists like Stefan Marx, Takashi Murakami, and Michael Jordan shared pages with underground icons, making Lodown a bridge between pop culture and the avant-garde.
Tom Sachs - Lodown 100
From Activism and Naivety to an Institution
Marecki often described the magazine’s early years as a blend of “activism and naivety.” With no blueprint and minimal resources, Lodown thrived on the energy of its community. “It was about making something because we believed in it,” he says. That belief carried the magazine to a circulation of 40,000 at its peak, reaching readers from Tokyo to Los Angeles.
As Lodown matured, it retained its irreverent edge, even as it became a cultural institution. It hosted exhibitions, published special editions, and collaborated with major artists. The magazine’s visual identity became iconic—flamboyant, experimental, and unmistakably Lodown.
Martin Lange, Eddie Otchere, Andrew Jeffery Wright - Lodown 100
The End of Print, but Not the End of Lodown
The announcement of Lodown’s 100th issue as its final edition was met with sadness but little surprise. By 2016, the decline of print media was an undeniable reality, particularly for niche publications. Marecki cites the changing landscape as a key factor. “The magazine market of the ’90s and 2000s doesn’t exist anymore,” he says. “People now prioritize viral content—cat videos with millions of views—over art and culture. Print has become unsustainable for what we were doing.”
Yet Marecki is adamant that this isn’t the end of Lodown’s story. “The 100th issue is a turning point, not a final farewell,” he insists. The Lodown brand will live on through books, special editions, and conceptual projects like TRAPHIC, Marecki’s visual exploration of contemporary networks and codes.
A Magazine’s Legacy, an Artist’s Journey
Looking back, Marecki sees Lodown as more than a magazine—it was a cultural laboratory. Its pages offered a space where artists, writers, and designers could experiment freely, shaping the dialogue around art, skateboarding, and music. “We didn’t just reflect culture; we helped shape it,” Marecki says.
As for what’s next, Marecki likens himself to a surfer waiting for the next wave.
“I don’t know exactly where I’m heading, but I know I need to keep moving”
Whether through publishing, design, or graffiti, his restless creativity ensures that the spirit of Lodown will persist.
Lodown may have published its last issue, but its impact endures. It wasn’t just a magazine—it was a movement, a mindset, a reminder that the best art comes from those willing to take risks. And while its pages may no longer grace newsstands, its ethos continues to inspire. For Marecki, as for the countless readers and artists who passed through Lodown’s orbit, the journey is far from over.
The Rise, Reign, and Reinvention of Lodown Magazine
For over two decades, Lodown Magazine was more than just a magazine—it was an emblem of cultural synthesis. Founded in 1995 by Thomas Marecki, better known as Marok, the Berlin-based publication transcended the boundaries between pop culture and alternative lifestyles, achieving what few magazines could: it stayed true to its underground roots while capturing the zeitgeist of a rapidly globalizing world.
As Lodown published its 100th and final issue, its departure marked the end of an era, but the legacy of its eclectic, rebellious spirit remains intact.
A Vision Born from the West Coast
Before Lodown, Marecki was a graphic designer and graffiti artist who absorbed the dynamic energy of California’s DIY culture. In the early ’90s, he worked with the iconic Ray Gun Magazine, where the unconventional designs of David Carson blurred the line between form and content. “California taught me to look at creativity differently,” Marecki recalls.
“It wasn’t just about what you made but how you made it—authenticity mattered more than polish.”
When Marecki returned to Berlin in 1995, the city was alive with post-reunification energy, its streets teeming with artistic experimentation. Inspired by the West Coast’s zines and surf culture, he envisioned a magazine that could channel the vitality of Berlin’s underground. Lodown Magazine für Popkultur und Bewegungskunst—a magazine for pop culture and the art of movement—was born.
The debut issue, self-financed and cobbled together with the help of friends, set the tone for what Lodown would become: a bold, visually inventive, and fiercely independent platform that celebrated skateboarding, street art, music, and more. Written in English and distributed globally, it had an immediate appeal, offering a window into Berlin’s vibrant subcultures for readers worldwide.
Sebastian Haslauer - Lodown 100
Unclassifiable and Always Ahead
Lodown quickly earned a reputation for its refusal to be boxed into a single category. Each issue was an unpredictable mix of visual artistry and cultural commentary. Marecki described it as a magazine “dedicated to pop culture and the art of movement,” but even that broad definition couldn’t capture its essence.
While it often showcased street art and skate culture, Lodown never allowed itself to become synonymous with any one scene. The magazine’s early embrace of street art, for example, culminated in a groundbreaking 2001 interview with Banksy—long before the artist became a global phenomenon. Yet, as street art entered the mainstream, Lodown pivoted away. “We didn’t want to be pigeonholed as a street art magazine,” Marecki explains. “Relevance wasn’t our goal. We wanted to explore the new and unknown, not follow trends.”
This ethos extended to the magazine’s design. Every issue felt like a new experiment: layouts were dismantled and reassembled, typography morphed, and visuals dominated.
“The visuals weren’t just decoration—they were the language”
Artists like Stefan Marx, Takashi Murakami, and Michael Jordan shared pages with underground icons, making Lodown a bridge between pop culture and the avant-garde.
Tom Sachs - Lodown 100
From Activism and Naivety to an Institution
Marecki often described the magazine’s early years as a blend of “activism and naivety.” With no blueprint and minimal resources, Lodown thrived on the energy of its community. “It was about making something because we believed in it,” he says. That belief carried the magazine to a circulation of 40,000 at its peak, reaching readers from Tokyo to Los Angeles.
As Lodown matured, it retained its irreverent edge, even as it became a cultural institution. It hosted exhibitions, published special editions, and collaborated with major artists. The magazine’s visual identity became iconic—flamboyant, experimental, and unmistakably Lodown.
Martin Lange, Eddie Otchere, Andrew Jeffery Wright - Lodown 100
The End of Print, but Not the End of Lodown
The announcement of Lodown’s 100th issue as its final edition was met with sadness but little surprise. By 2016, the decline of print media was an undeniable reality, particularly for niche publications. Marecki cites the changing landscape as a key factor. “The magazine market of the ’90s and 2000s doesn’t exist anymore,” he says. “People now prioritize viral content—cat videos with millions of views—over art and culture. Print has become unsustainable for what we were doing.”
Yet Marecki is adamant that this isn’t the end of Lodown’s story. “The 100th issue is a turning point, not a final farewell,” he insists. The Lodown brand will live on through books, special editions, and conceptual projects like TRAPHIC, Marecki’s visual exploration of contemporary networks and codes.
A Magazine’s Legacy, an Artist’s Journey
Looking back, Marecki sees Lodown as more than a magazine—it was a cultural laboratory. Its pages offered a space where artists, writers, and designers could experiment freely, shaping the dialogue around art, skateboarding, and music. “We didn’t just reflect culture; we helped shape it,” Marecki says.
As for what’s next, Marecki likens himself to a surfer waiting for the next wave.
“I don’t know exactly where I’m heading, but I know I need to keep moving”
Whether through publishing, design, or graffiti, his restless creativity ensures that the spirit of Lodown will persist.
Lodown may have published its last issue, but its impact endures. It wasn’t just a magazine—it was a movement, a mindset, a reminder that the best art comes from those willing to take risks. And while its pages may no longer grace newsstands, its ethos continues to inspire. For Marecki, as for the countless readers and artists who passed through Lodown’s orbit, the journey is far from over.
For over two decades, Lodown Magazine was more than just a magazine—it was an emblem of cultural synthesis. Founded in 1995 by Thomas Marecki, better known as Marok, the Berlin-based publication transcended the boundaries between pop culture and alternative lifestyles, achieving what few magazines could: it stayed true to its underground roots while capturing the zeitgeist of a rapidly globalizing world.
As Lodown published its 100th and final issue, its departure marked the end of an era, but the legacy of its eclectic, rebellious spirit remains intact.
For over two decades, Lodown Magazine was more than just a magazine—it was an emblem of cultural synthesis. Founded in 1995 by Thomas Marecki, better known as Marok, the Berlin-based publication transcended the boundaries between pop culture and alternative lifestyles, achieving what few magazines could: it stayed true to its underground roots while capturing the zeitgeist of a rapidly globalizing world.
As Lodown published its 100th and final issue, its departure marked the end of an era, but the legacy of its eclectic, rebellious spirit remains intact.
A Vision Born from the West Coast
Before Lodown, Marecki was a graphic designer and graffiti artist who absorbed the dynamic energy of California’s DIY culture. In the early ’90s, he worked with the iconic Ray Gun Magazine, where the unconventional designs of David Carson blurred the line between form and content. “California taught me to look at creativity differently,” Marecki recalls.
“It wasn’t just about what you made but how you made it—authenticity mattered more than polish.”
When Marecki returned to Berlin in 1995, the city was alive with post-reunification energy, its streets teeming with artistic experimentation. Inspired by the West Coast’s zines and surf culture, he envisioned a magazine that could channel the vitality of Berlin’s underground. Lodown Magazine für Popkultur und Bewegungskunst—a magazine for pop culture and the art of movement—was born.
The debut issue, self-financed and cobbled together with the help of friends, set the tone for what Lodown would become: a bold, visually inventive, and fiercely independent platform that celebrated skateboarding, street art, music, and more. Written in English and distributed globally, it had an immediate appeal, offering a window into Berlin’s vibrant subcultures for readers worldwide.
Sebastian Haslauer - Lodown 100
Unclassifiable and Always Ahead
Lodown quickly earned a reputation for its refusal to be boxed into a single category. Each issue was an unpredictable mix of visual artistry and cultural commentary. Marecki described it as a magazine “dedicated to pop culture and the art of movement,” but even that broad definition couldn’t capture its essence.
While it often showcased street art and skate culture, Lodown never allowed itself to become synonymous with any one scene. The magazine’s early embrace of street art, for example, culminated in a groundbreaking 2001 interview with Banksy—long before the artist became a global phenomenon. Yet, as street art entered the mainstream, Lodown pivoted away. “We didn’t want to be pigeonholed as a street art magazine,” Marecki explains. “Relevance wasn’t our goal. We wanted to explore the new and unknown, not follow trends.”
This ethos extended to the magazine’s design. Every issue felt like a new experiment: layouts were dismantled and reassembled, typography morphed, and visuals dominated.
“The visuals weren’t just decoration—they were the language”
Artists like Stefan Marx, Takashi Murakami, and Michael Jordan shared pages with underground icons, making Lodown a bridge between pop culture and the avant-garde.
Tom Sachs - Lodown 100
From Activism and Naivety to an Institution
Marecki often described the magazine’s early years as a blend of “activism and naivety.” With no blueprint and minimal resources, Lodown thrived on the energy of its community. “It was about making something because we believed in it,” he says. That belief carried the magazine to a circulation of 40,000 at its peak, reaching readers from Tokyo to Los Angeles.
As Lodown matured, it retained its irreverent edge, even as it became a cultural institution. It hosted exhibitions, published special editions, and collaborated with major artists. The magazine’s visual identity became iconic—flamboyant, experimental, and unmistakably Lodown.
Martin Lange, Eddie Otchere, Andrew Jeffery Wright - Lodown 100
The End of Print, but Not the End of Lodown
The announcement of Lodown’s 100th issue as its final edition was met with sadness but little surprise. By 2016, the decline of print media was an undeniable reality, particularly for niche publications. Marecki cites the changing landscape as a key factor. “The magazine market of the ’90s and 2000s doesn’t exist anymore,” he says. “People now prioritize viral content—cat videos with millions of views—over art and culture. Print has become unsustainable for what we were doing.”
Yet Marecki is adamant that this isn’t the end of Lodown’s story. “The 100th issue is a turning point, not a final farewell,” he insists. The Lodown brand will live on through books, special editions, and conceptual projects like TRAPHIC, Marecki’s visual exploration of contemporary networks and codes.
A Magazine’s Legacy, an Artist’s Journey
Looking back, Marecki sees Lodown as more than a magazine—it was a cultural laboratory. Its pages offered a space where artists, writers, and designers could experiment freely, shaping the dialogue around art, skateboarding, and music. “We didn’t just reflect culture; we helped shape it,” Marecki says.
As for what’s next, Marecki likens himself to a surfer waiting for the next wave.
“I don’t know exactly where I’m heading, but I know I need to keep moving”
Whether through publishing, design, or graffiti, his restless creativity ensures that the spirit of Lodown will persist.
Lodown may have published its last issue, but its impact endures. It wasn’t just a magazine—it was a movement, a mindset, a reminder that the best art comes from those willing to take risks. And while its pages may no longer grace newsstands, its ethos continues to inspire. For Marecki, as for the countless readers and artists who passed through Lodown’s orbit, the journey is far from over.
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Culture
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June 15, 2016
The Rise, Reign, and Reinvention of Lodown Magazine
Constantin Peyfuss
Article
,
Share this story ...
For over two decades, Lodown Magazine was more than just a magazine—it was an emblem of cultural synthesis. Founded in 1995 by Thomas Marecki, better known as Marok, the Berlin-based publication transcended the boundaries between pop culture and alternative lifestyles, achieving what few magazines could: it stayed true to its underground roots while capturing the zeitgeist of a rapidly globalizing world.
As Lodown published its 100th and final issue, its departure marked the end of an era, but the legacy of its eclectic, rebellious spirit remains intact.
A Vision Born from the West Coast
Before Lodown, Marecki was a graphic designer and graffiti artist who absorbed the dynamic energy of California’s DIY culture. In the early ’90s, he worked with the iconic Ray Gun Magazine, where the unconventional designs of David Carson blurred the line between form and content. “California taught me to look at creativity differently,” Marecki recalls.
“It wasn’t just about what you made but how you made it—authenticity mattered more than polish.”
When Marecki returned to Berlin in 1995, the city was alive with post-reunification energy, its streets teeming with artistic experimentation. Inspired by the West Coast’s zines and surf culture, he envisioned a magazine that could channel the vitality of Berlin’s underground. Lodown Magazine für Popkultur und Bewegungskunst—a magazine for pop culture and the art of movement—was born.
The debut issue, self-financed and cobbled together with the help of friends, set the tone for what Lodown would become: a bold, visually inventive, and fiercely independent platform that celebrated skateboarding, street art, music, and more. Written in English and distributed globally, it had an immediate appeal, offering a window into Berlin’s vibrant subcultures for readers worldwide.
Sebastian Haslauer - Lodown 100
Unclassifiable and Always Ahead
Lodown quickly earned a reputation for its refusal to be boxed into a single category. Each issue was an unpredictable mix of visual artistry and cultural commentary. Marecki described it as a magazine “dedicated to pop culture and the art of movement,” but even that broad definition couldn’t capture its essence.
While it often showcased street art and skate culture, Lodown never allowed itself to become synonymous with any one scene. The magazine’s early embrace of street art, for example, culminated in a groundbreaking 2001 interview with Banksy—long before the artist became a global phenomenon. Yet, as street art entered the mainstream, Lodown pivoted away. “We didn’t want to be pigeonholed as a street art magazine,” Marecki explains. “Relevance wasn’t our goal. We wanted to explore the new and unknown, not follow trends.”
This ethos extended to the magazine’s design. Every issue felt like a new experiment: layouts were dismantled and reassembled, typography morphed, and visuals dominated.
“The visuals weren’t just decoration—they were the language”
Artists like Stefan Marx, Takashi Murakami, and Michael Jordan shared pages with underground icons, making Lodown a bridge between pop culture and the avant-garde.
Tom Sachs - Lodown 100
From Activism and Naivety to an Institution
Marecki often described the magazine’s early years as a blend of “activism and naivety.” With no blueprint and minimal resources, Lodown thrived on the energy of its community. “It was about making something because we believed in it,” he says. That belief carried the magazine to a circulation of 40,000 at its peak, reaching readers from Tokyo to Los Angeles.
As Lodown matured, it retained its irreverent edge, even as it became a cultural institution. It hosted exhibitions, published special editions, and collaborated with major artists. The magazine’s visual identity became iconic—flamboyant, experimental, and unmistakably Lodown.
Martin Lange, Eddie Otchere, Andrew Jeffery Wright - Lodown 100
The End of Print, but Not the End of Lodown
The announcement of Lodown’s 100th issue as its final edition was met with sadness but little surprise. By 2016, the decline of print media was an undeniable reality, particularly for niche publications. Marecki cites the changing landscape as a key factor. “The magazine market of the ’90s and 2000s doesn’t exist anymore,” he says. “People now prioritize viral content—cat videos with millions of views—over art and culture. Print has become unsustainable for what we were doing.”
Yet Marecki is adamant that this isn’t the end of Lodown’s story. “The 100th issue is a turning point, not a final farewell,” he insists. The Lodown brand will live on through books, special editions, and conceptual projects like TRAPHIC, Marecki’s visual exploration of contemporary networks and codes.
A Magazine’s Legacy, an Artist’s Journey
Looking back, Marecki sees Lodown as more than a magazine—it was a cultural laboratory. Its pages offered a space where artists, writers, and designers could experiment freely, shaping the dialogue around art, skateboarding, and music. “We didn’t just reflect culture; we helped shape it,” Marecki says.
As for what’s next, Marecki likens himself to a surfer waiting for the next wave.
“I don’t know exactly where I’m heading, but I know I need to keep moving”
Whether through publishing, design, or graffiti, his restless creativity ensures that the spirit of Lodown will persist.
Lodown may have published its last issue, but its impact endures. It wasn’t just a magazine—it was a movement, a mindset, a reminder that the best art comes from those willing to take risks. And while its pages may no longer grace newsstands, its ethos continues to inspire. For Marecki, as for the countless readers and artists who passed through Lodown’s orbit, the journey is far from over.
The Rise, Reign, and Reinvention of Lodown Magazine
Constantin Peyfuss
Article
,
Share this story ...
For over two decades, Lodown Magazine was more than just a magazine—it was an emblem of cultural synthesis. Founded in 1995 by Thomas Marecki, better known as Marok, the Berlin-based publication transcended the boundaries between pop culture and alternative lifestyles, achieving what few magazines could: it stayed true to its underground roots while capturing the zeitgeist of a rapidly globalizing world.
As Lodown published its 100th and final issue, its departure marked the end of an era, but the legacy of its eclectic, rebellious spirit remains intact.
A Vision Born from the West Coast
Before Lodown, Marecki was a graphic designer and graffiti artist who absorbed the dynamic energy of California’s DIY culture. In the early ’90s, he worked with the iconic Ray Gun Magazine, where the unconventional designs of David Carson blurred the line between form and content. “California taught me to look at creativity differently,” Marecki recalls.
“It wasn’t just about what you made but how you made it—authenticity mattered more than polish.”
When Marecki returned to Berlin in 1995, the city was alive with post-reunification energy, its streets teeming with artistic experimentation. Inspired by the West Coast’s zines and surf culture, he envisioned a magazine that could channel the vitality of Berlin’s underground. Lodown Magazine für Popkultur und Bewegungskunst—a magazine for pop culture and the art of movement—was born.
The debut issue, self-financed and cobbled together with the help of friends, set the tone for what Lodown would become: a bold, visually inventive, and fiercely independent platform that celebrated skateboarding, street art, music, and more. Written in English and distributed globally, it had an immediate appeal, offering a window into Berlin’s vibrant subcultures for readers worldwide.
Sebastian Haslauer - Lodown 100
Unclassifiable and Always Ahead
Lodown quickly earned a reputation for its refusal to be boxed into a single category. Each issue was an unpredictable mix of visual artistry and cultural commentary. Marecki described it as a magazine “dedicated to pop culture and the art of movement,” but even that broad definition couldn’t capture its essence.
While it often showcased street art and skate culture, Lodown never allowed itself to become synonymous with any one scene. The magazine’s early embrace of street art, for example, culminated in a groundbreaking 2001 interview with Banksy—long before the artist became a global phenomenon. Yet, as street art entered the mainstream, Lodown pivoted away. “We didn’t want to be pigeonholed as a street art magazine,” Marecki explains. “Relevance wasn’t our goal. We wanted to explore the new and unknown, not follow trends.”
This ethos extended to the magazine’s design. Every issue felt like a new experiment: layouts were dismantled and reassembled, typography morphed, and visuals dominated.
“The visuals weren’t just decoration—they were the language”
Artists like Stefan Marx, Takashi Murakami, and Michael Jordan shared pages with underground icons, making Lodown a bridge between pop culture and the avant-garde.
Tom Sachs - Lodown 100
From Activism and Naivety to an Institution
Marecki often described the magazine’s early years as a blend of “activism and naivety.” With no blueprint and minimal resources, Lodown thrived on the energy of its community. “It was about making something because we believed in it,” he says. That belief carried the magazine to a circulation of 40,000 at its peak, reaching readers from Tokyo to Los Angeles.
As Lodown matured, it retained its irreverent edge, even as it became a cultural institution. It hosted exhibitions, published special editions, and collaborated with major artists. The magazine’s visual identity became iconic—flamboyant, experimental, and unmistakably Lodown.
Martin Lange, Eddie Otchere, Andrew Jeffery Wright - Lodown 100
The End of Print, but Not the End of Lodown
The announcement of Lodown’s 100th issue as its final edition was met with sadness but little surprise. By 2016, the decline of print media was an undeniable reality, particularly for niche publications. Marecki cites the changing landscape as a key factor. “The magazine market of the ’90s and 2000s doesn’t exist anymore,” he says. “People now prioritize viral content—cat videos with millions of views—over art and culture. Print has become unsustainable for what we were doing.”
Yet Marecki is adamant that this isn’t the end of Lodown’s story. “The 100th issue is a turning point, not a final farewell,” he insists. The Lodown brand will live on through books, special editions, and conceptual projects like TRAPHIC, Marecki’s visual exploration of contemporary networks and codes.
A Magazine’s Legacy, an Artist’s Journey
Looking back, Marecki sees Lodown as more than a magazine—it was a cultural laboratory. Its pages offered a space where artists, writers, and designers could experiment freely, shaping the dialogue around art, skateboarding, and music. “We didn’t just reflect culture; we helped shape it,” Marecki says.
As for what’s next, Marecki likens himself to a surfer waiting for the next wave.
“I don’t know exactly where I’m heading, but I know I need to keep moving”
Whether through publishing, design, or graffiti, his restless creativity ensures that the spirit of Lodown will persist.
Lodown may have published its last issue, but its impact endures. It wasn’t just a magazine—it was a movement, a mindset, a reminder that the best art comes from those willing to take risks. And while its pages may no longer grace newsstands, its ethos continues to inspire. For Marecki, as for the countless readers and artists who passed through Lodown’s orbit, the journey is far from over.
For over two decades, Lodown Magazine was more than just a magazine—it was an emblem of cultural synthesis. Founded in 1995 by Thomas Marecki, better known as Marok, the Berlin-based publication transcended the boundaries between pop culture and alternative lifestyles, achieving what few magazines could: it stayed true to its underground roots while capturing the zeitgeist of a rapidly globalizing world.
As Lodown published its 100th and final issue, its departure marked the end of an era, but the legacy of its eclectic, rebellious spirit remains intact.
A Vision Born from the West Coast
Before Lodown, Marecki was a graphic designer and graffiti artist who absorbed the dynamic energy of California’s DIY culture. In the early ’90s, he worked with the iconic Ray Gun Magazine, where the unconventional designs of David Carson blurred the line between form and content. “California taught me to look at creativity differently,” Marecki recalls.
“It wasn’t just about what you made but how you made it—authenticity mattered more than polish.”
When Marecki returned to Berlin in 1995, the city was alive with post-reunification energy, its streets teeming with artistic experimentation. Inspired by the West Coast’s zines and surf culture, he envisioned a magazine that could channel the vitality of Berlin’s underground. Lodown Magazine für Popkultur und Bewegungskunst—a magazine for pop culture and the art of movement—was born.
The debut issue, self-financed and cobbled together with the help of friends, set the tone for what Lodown would become: a bold, visually inventive, and fiercely independent platform that celebrated skateboarding, street art, music, and more. Written in English and distributed globally, it had an immediate appeal, offering a window into Berlin’s vibrant subcultures for readers worldwide.
Sebastian Haslauer - Lodown 100
Unclassifiable and Always Ahead
Lodown quickly earned a reputation for its refusal to be boxed into a single category. Each issue was an unpredictable mix of visual artistry and cultural commentary. Marecki described it as a magazine “dedicated to pop culture and the art of movement,” but even that broad definition couldn’t capture its essence.
While it often showcased street art and skate culture, Lodown never allowed itself to become synonymous with any one scene. The magazine’s early embrace of street art, for example, culminated in a groundbreaking 2001 interview with Banksy—long before the artist became a global phenomenon. Yet, as street art entered the mainstream, Lodown pivoted away. “We didn’t want to be pigeonholed as a street art magazine,” Marecki explains. “Relevance wasn’t our goal. We wanted to explore the new and unknown, not follow trends.”
This ethos extended to the magazine’s design. Every issue felt like a new experiment: layouts were dismantled and reassembled, typography morphed, and visuals dominated.
“The visuals weren’t just decoration—they were the language”
Artists like Stefan Marx, Takashi Murakami, and Michael Jordan shared pages with underground icons, making Lodown a bridge between pop culture and the avant-garde.
Tom Sachs - Lodown 100
From Activism and Naivety to an Institution
Marecki often described the magazine’s early years as a blend of “activism and naivety.” With no blueprint and minimal resources, Lodown thrived on the energy of its community. “It was about making something because we believed in it,” he says. That belief carried the magazine to a circulation of 40,000 at its peak, reaching readers from Tokyo to Los Angeles.
As Lodown matured, it retained its irreverent edge, even as it became a cultural institution. It hosted exhibitions, published special editions, and collaborated with major artists. The magazine’s visual identity became iconic—flamboyant, experimental, and unmistakably Lodown.
Martin Lange, Eddie Otchere, Andrew Jeffery Wright - Lodown 100
The End of Print, but Not the End of Lodown
The announcement of Lodown’s 100th issue as its final edition was met with sadness but little surprise. By 2016, the decline of print media was an undeniable reality, particularly for niche publications. Marecki cites the changing landscape as a key factor. “The magazine market of the ’90s and 2000s doesn’t exist anymore,” he says. “People now prioritize viral content—cat videos with millions of views—over art and culture. Print has become unsustainable for what we were doing.”
Yet Marecki is adamant that this isn’t the end of Lodown’s story. “The 100th issue is a turning point, not a final farewell,” he insists. The Lodown brand will live on through books, special editions, and conceptual projects like TRAPHIC, Marecki’s visual exploration of contemporary networks and codes.
A Magazine’s Legacy, an Artist’s Journey
Looking back, Marecki sees Lodown as more than a magazine—it was a cultural laboratory. Its pages offered a space where artists, writers, and designers could experiment freely, shaping the dialogue around art, skateboarding, and music. “We didn’t just reflect culture; we helped shape it,” Marecki says.
As for what’s next, Marecki likens himself to a surfer waiting for the next wave.
“I don’t know exactly where I’m heading, but I know I need to keep moving”
Whether through publishing, design, or graffiti, his restless creativity ensures that the spirit of Lodown will persist.
Lodown may have published its last issue, but its impact endures. It wasn’t just a magazine—it was a movement, a mindset, a reminder that the best art comes from those willing to take risks. And while its pages may no longer grace newsstands, its ethos continues to inspire. For Marecki, as for the countless readers and artists who passed through Lodown’s orbit, the journey is far from over.
