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When thinking about distribution strategies, I began by reexamining the overarching ethos of the publication. The primary challenge here is to achieve a fine balance between the need to make Moveable Feast as accessible as possible, while also maintaining a profit margin high enough to ensure the self-sufficiency of the project, as well as to give back to the community. In order to fulfill both these goals, I decided that every issue of the publication would be free to read online at and in person at select libraries and community centres, while the hard copies would be available for purchase at a number of domestic stockists.

The selected locations are as follows: 

  • London Chinese Community Centre

  • Korean Community Centre

  • SOAS Library

  • Central Saint Martins Library

  • Stuart Hall Library

  • Tate Library

  • School of Wok

As it relates to selecting a distributor for the hard copies, I had a general criteria against which to gauge their suitability for my publication. Firstly, I knew I wanted to opt for a distributor of relatively modest proportions, one focused predominantly on engaging up-and-coming creatives. Secondly, I wanted to distribute domestically for the time being, with the option of expanding to East & Southeast Asian stockists further down the line. Within the UK, I wanted to focus on bookshops and specialist retailers, but also have the freedom to pursue collaborations external to the distributor, such as Jeremy Pang's London-based Asian cookery course, School of Wok.













I researched the distributors of existing publications that are similar to Moveable Feast, and ran across London-based distributor Antenne Books. Browsing through their catalogue, I found much of the publications are self-published, ranging from artist books to zines, and similar to Moveable Feast in terms of production value. I would opt to have distribution limited to the UK for the first issue, with stockists such as the London Centre for Book Arts, Rough Trade and the Royal Academy. I downloaded their information packets- the distributor terms and submission guidelines- and felt the conditions were reasonable for its reach, and therefore drafted a submission:

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Having conducted my research, I created a rough timeline for the editorial and production process of Moveable Feast:

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