Utopian Press & Fads and Fancies: A Peek Into Bristish Mid‑Century Fetish Publishing
For collectors of vintage erotica, glamour magazines, and mid‑century curiosities, few names spark as much interest as Utopian Press. What began as a modest science‑fiction pamphlet publisher under the direction of Benson Herbert soon evolved into one of the most inventive — and mischievous — operations in post‑war British print culture.
Herbert, already an experienced publisher, clearly had an eye for the risqué. Even his early sci‑fi covers leaned toward pin‑up styling, hinting at the direction he would eventually take. By the late 1940s he had abandoned science fiction entirely, turning his attention to producing saucy, light‑hearted magazines at a time when British publishing laws made such ventures nearly impossible.
New periodicals were prohibited, so Herbert simply refused to publish a “periodical.” Instead, he released each monthly issue under a completely different title — a clever loophole that produced a parade of wonderfully named one‑offs: Carnival Capers, Sporty Stories, Blue Stories, Haywire, Snap, Cuban Capers, Hubba Hubba, Heebee Jeebee, and more. Each stood alone, yet together they formed a distinctive body of work that collectors now treasure.
The Birth of Fads and Fancies
Among Herbert’s creations, one title rose above the rest: Fads and Fancies.
It began quietly in January 1950 as a supplement inside Sporty Stories, then appeared in several other monthlies before being published independently in June 1950. The numbering was eccentric — the first standalone issue was labelled Volume 1 No. 6 — but this only adds to its charm today.
What truly set Fads and Fancies apart was its artwork. The magazine was lavishly illustrated by Reina M. Bull, signing as RMB and, within this series, as Janine. Her drawings of women in stockings, corsets, bloomers, hats, heels, lace, bows, and ruffles created a theatrical, highly adorned femininity that remains instantly recognisable. Her style is playful, elegant, and unmistakably mid‑century.
The written content came almost entirely from readers. Letter after letter — numbered for reference — explored the fashions, fascinations, and personal preferences of the era. Topics ranged from underwear and hosiery to skirts, jewellery, cosmetics, hobble skirts, garters, and even horses. It’s a vivid snapshot of post‑war British interests, expressed with a mixture of enthusiasm, humour, and discretion.
A Glimpse Into the Editorial Voice
A charming start to it all is Benson Herbert’s editorial introduction. In it, he welcomes readers to the first full issue, explains the mix of art paper, and gently reminds contributors that censorship rules sometimes forced him to alter or omit letters.
He notes, with a wink, that the magazine contains “nothing professional at all” — everything was written by readers themselves. It’s a rare moment of transparency and warmth from a publisher navigating a maze of restrictions while still trying to give his audience something fresh, playful, and personal.
Why Collectors Love These Today
Original Utopian Press titles are now increasingly rare. Their scarcity, combined with their quirky publishing history, distinctive artwork, and candid reader‑driven content, makes them highly desirable for collectors of vintage erotica and mid‑century print culture.
Each surviving copy is more than a magazine; it’s a small, rebellious piece of British publishing history.
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