Flow, the magazine that was born in an attic in the Netherlands in 2008, gained the world’s attention for its beauty, elegance, and giving its audience a time for themselves in a very slow but conscience and creative presentation. 

What can easily be described as a magnet to paper lovers, returns to the shores of the United States and another 20 English speaking countries after suspending publication in English following COVID 19 in 2020.

The articles in the magazine, the photography, and the illustrations are all printed on paper that corresponds to the nature of the article or illustration.  The genius idea of Irene Smit, the cofounder and creative director of Flow, with business partner Astrid van der Hulst, cofounder and former editor in chief of the magazine.

When the magazine arrived on the newsstands in the Netherlands, the skeptics who doubted a “me time magazine,” will survive were stunned by the sales numbers.  Flow continued to grow in the Netherlands and beyond.  Now in four languages(Dutch, German, French and English) and multiple international editions, the magazine is back on the United States newsstands.

I had the pleasure of chatting with Irene Smit, the cofounder and creative director of Flow via Zoom in her office in the Netherlands.  What follows is the lightly edited interview with Irene Smit, but first the soundbites:

On the elevator pitch of Flow: “Flow is about slowing down and living a conscious life.”

On the challenges that forced the suspension of Flow in 2020: “The challenges brought by COVID-19 proved insurmountable. Skyrocketing paper prices and exorbitant distribution costs, combined with widespread shop closures worldwide, made continuing the magazine untenable.”

On the timing of the return of the English edition of Flow: “Last year, Flow Magazine was sold to another publishing house, Roularta Media. They were enthusiastic about restarting the international edition, which was exciting for us.”

On the feedback during Flow’s suspension: “What’s truly heartwarming is that even during the years we were away, we continued to receive letters and messages on platforms like Instagram and Facebook.”

On Flow’s target audience: “In a time of increasing polarization, many found comfort in Flow’s community—people who cherish crafting, paper, and positivity.”

On the genesis of the Flow idea: “People were growing tired of the “more, better, quicker” mentality. Instead, they seemed to crave a simpler, more authentic way of life.”

On the power of print in a digital age: “After years dominated by digital devices like iPhones and iPads, people are rediscovering the value of paper. It resonates particularly with Gen Z and millennials, who are increasingly seeking ways to step away from their screens.”

On Flow’s mission: “Flow has always been about: nurturing your mind through creativity and incorporating positive psychology into everyday life.”

And now for the lightly edited conversation with Irene Smit, cofounder and creative director of Flow magazine:

Samir Husni:  What’s the elevator pitch of Flow? 

Irene Smit: Flow is about slowing down and living a conscious life.

When we started Flow (myself and business partner Astrid van der Hulst) in 2008 magazines weren’t about those topics. They were all about more, better, like what social media is now. We already knew what the world wanted before the world wanted it, a place to slow down and to live a conscious life, and that’s what we still offer in the magazine.

Samir Husni: You publish several international editions. You have one in France, you have one in Germany, and you brought an edition to the States.  Because of COVID, you had to suspend the International edition. Now you are bringing it back. Why now? And what are some of the reasons for this relaunch? 

Irene Smit: Shortly after launching the Dutch version, we began receiving numerous letters from people who had come across it at the airport. They all praised the magazine, saying it looked stunning and had a unique tactile appeal due to the variety of papers used. However, many added, “We don’t really understand what it’s about.” This feedback prompted us to create an English-language edition in the Netherlands.

At its peak in 2020, just before the onset of COVID-19, the magazine was published and distributed in 34 countries. We had licensed German and French editions, while the English edition was produced in-house. This version was developed in the Netherlands with support from English-speaking translators and editors.

However, the challenges brought by COVID-19 proved insurmountable. Skyrocketing paper prices and exorbitant distribution costs, combined with widespread shop closures worldwide, made continuing the magazine untenable. A new publishing company had just acquired us and we decided to stop producing the English issue, and unfortunately weren’t able to start it up again.

But last year, Flow Magazine was sold to another publishing house, Roularta Media. They were enthusiastic about restarting the international edition, which was exciting for us. This summer, we finally made it happen. The magazine will now be published twice a year and distributed across 20 countries. This allows us to gradually grow and adapt to modern distribution methods.

What’s truly heartwarming is that even during the years we were away, we continued to receive letters and messages on platforms like Instagram and Facebook. Our Facebook group for Paper Lovers has been especially active. Fans would often ask, “Can you please bring back the English edition? You’re my paper inspiration, my ‘Paper porn.’ I miss you so much!” Some even joked about learning Dutch or French just to stay connected with us. Whenever we posted updates, our many international followers would respond, urging us to return to the U.S., New Zealand, or Australia.

Last year, more and more people were expressing that the world truly needs Flow. They emphasized the importance of spreading a positive message of hope and offering ways to care for ourselves in this fast-paced, often overwhelming world. Flow Magazine has always been about fostering a sense of community, bringing people together, and celebrating creativity. In a time of increasing polarization, many found comfort in Flow’s community—people who cherish crafting, paper, and positivity.

With so many asking for Flow’s return, we realized that now is the perfect time to bring it back.

Samir Husni: If you can go back to 2008, tell me a little bit about how you and your business partner came up with the idea and how did you start this magazine? My understanding that you were in your attic? 

Irene Smit: Yes, we were. We were both working for Marie Claire, a glossy magazine that was part of Sanoma Publishers.

One day, we were on the attic when Anita Mooiweer, the new business manager of Sanoma, mentioned, “We feel there’s a need for a different kind of magazine, but we’re not sure what. Could you help us think of a new concept?” Inspired, Astrid and I gathered a variety of paper goodies—things we loved, like stationery and notebooks—from children’s bookstores and sat down to brainstorm.

Both of us shared a deep love for paper. After years of working on glossy magazines, we felt that by 2008—just before the economic crisis—society was shifting. People were growing tired of the “more, better, quicker” mentality. Instead, they seemed to crave a simpler, more authentic way of life.

We noticed that people no longer yearned for more designer clothes or extravagant vacations. Instead, they valued meaningful gestures, for example, like a homemade apple pie from a friend. Those personal, heartfelt moments held more worth than expensive luxuries. Inspired by this, we set out to create a magazine that we would want to read ourselves—something entirely different from what was already available.

At the time, we had just completed a mindfulness-based stress reduction course. It taught us profound life lessons: letting go of perfectionism, accepting ourselves, cultivating a beginner’s mind, and appreciating the little things in life. We realized our magazine should reflect these principles. It should celebrate life’s small joys and offer guidance on navigating lessons that traditional schooling never taught us.

We wanted to learn and share these life lessons with others. That idea became the heart of our magazine. It combined everything we loved—poems, stories about inspiring women, history, and articles that helped us better understand the world and ourselves better.

Samir Husni: And you decided to use a variety of paper in the magazine. It was not one paper stock. The magazine is known for the variety of paper from tissue paper to glossy paper?

Irene Smit:  Yes.

Samir Husni: Why do you think this was the choice and what’s the power of print today in this digital age? 

Irene Smit: We decided to use a variety of papers because paper is so much more than just a medium for printing text. The tactile feel, the scent—it evokes emotions and can transport you to a different state of mind. For instance, when presenting an article filled with images, glossy paper is ideal. Its shiny, eye-catching quality adds a sense of indulgence, almost like visual candy.

On the other hand, if the article is about confronting personal challenges or pitfalls, a rougher paper feels more appropriate. The texture itself mirrors the subject matter—it’s a bit raw, a bit tough—adding a layer of depth that complements the article’s tone and content.

Today, paper has re-emerged as a luxury product. After years dominated by digital devices like iPhones and iPads, people are rediscovering the value of paper. It resonates particularly with Gen Z and millennials, who are increasingly seeking ways to step away from their screens. Many of them feel the need to reclaim their time and reduce their reliance on phones, often spending hours daily glued to their devices.

This reconnection with paper is beautiful. Younger generations, who grew up immersed in the digital world, are finding joy in treating themselves to offline moments. Whether it’s reading a magazine, journaling, or crafting a mood or vision board, they’re rediscovering the simple pleasures of print. It’s akin to the resurgence of vinyl records; just as people have fallen in love with playing records again, I believe the next step will be a revival of magazine reading.

Samir Husni: That’s good. So, tell me, was it more like a walk in a rose garden or you had some challenges you had to overcome? 

Irene Smit: We had a lot of challenges. I wish it was a walk in a rose garden.

In the beginning, it was almost amusing how few people believed in our potential for success. Critics scoffed, claiming we could only fill two or three issues with content. Many doubted it would work long-term.

Some even complained about the empty pages, saying they weren’t willing to pay for blank space. But we stayed true to our vision, deciding to do things our own way.

To our delight, the magazine sold exceptionally well. To all the skeptics, we simply said, “It’s fine to doubt us, but the numbers speak for themselves.” After the first decade of success, while many other magazines started to decline, we remained stable and even thrived.

We were thrilled to still be riding that wave of positivity. However, the past five or six years have been more challenging. The pandemic forced us to pause the English edition, and switching publishers twice added further complications. Creating this product is incredibly time-consuming, and downsizing our team has made the process even more demanding.

Despite these hurdles, we continue to pour our hearts into this magazine. We believe in crafting the best product possible, and we think our audience can feel that passion. This connection is why so many people are eager for its return.

It’s heartwarming to see such enthusiasm. In fact, the English edition seems to have gained an almost mythical status during its absence. People are eager to bring it back, and our Book for Paper Lovers has been equally beloved—it’s a magazine without articles, filled solely with beautiful paper.

We’ve collaborated with Workman Publishing in the U.S. to produce various projects, such as A Book That Takes Its Time, along with stationery and puzzles. Now, as we prepare for our return, Workman Publishing has expressed interest in new books featuring stickers and stationery.

It hasn’t been an easy journey, but we’re on the upswing. With the English edition back on newsstands, we’re hopeful it will be warmly received. Our message of comfort, compassion, and care for one another feels more relevant than ever. We believe this is the perfect moment for our comeback.

Samir Husni: When you launched the magazine, you were all alone. What was your feeling when you saw all those competitors sprouting like mushrooms on the newsstand worldwide? 

Irene Smit: Yes, it was challenging. I think in the Netherlands, the situation was manageable. However, in Germany, there were times when we faced competition from 10 or 15 rivals simultaneously. That was definitely frustrating.

Even so, I believe people can recognize when something is created with genuine passion and originality. We’ve always aimed to innovate and bring fresh ideas to the table. Over time, people continued to view Flow as the original, standing out with its unique products. I don’t think the imitations are as good as ours, and I believe people can sense that.

Samir Husni: Who’s your target audience? Whom are you trying to reach with Flow? 

Irene Smit: It’s funny, we always said we have a very broad audience, everybody that likes our topics is welcome.

These days, many young people are deeply interested in our topic. From the very beginning, Flow has been about mental health, although we didn’t use that term back in 2008. At the time, nobody really talked about mental health. Instead, we focused on mindfulness and caring for your mind.

It wasn’t until after COVID that mental health became a common topic of conversation. That’s when I realized—this is what Flow has always been about: nurturing your mind through creativity and incorporating positive psychology into everyday life.

Now, many young readers turn to Flow specifically for its mental health articles. At the same time, we continue to have a large audience of readers in their 50s and 60s, making it a truly broad and diverse community.

Samir Husni: That’s good. So what’s your motto now? Is it like “Go with the Flow?” 

Irene Smit: Yes, it’s still “Go with the Flow”. We just keep going with the Flow.

We try to sense what people want to read, what they want to hear, and how we can help them in life. Every day feels different, as the world changes so quickly.

We aim to keep up with all these changes, but we go with the flow, embracing the opportunities that come our way—like restarting the English edition. I think that approach works best for Flow.

Samir Husni: Before I ask you my last two typical questions, is there any question I failed to ask you that I should ask you or anything you would like to add? 

Irene Smit: You should have asked, “Where is Astrid?” She left. She’s now a primary school teacher. It was very sad because we started this together.

We’re still both parents of Flow, but she’s found something else that suits her life better. She loves teaching and doesn’t want the pressure of all these deadlines anymore. Now, she has found the right balance—she’s a teacher, but still writes articles for the magazine.

I’m happy she’s still involved with Flow.

Samir Husni: If I would come uninvited one evening to your house, what would I catch Irene doing, reading a book, watching TV, having a glass of wine, cooking?

Irene Smit:  I’m always striving to improve my life, just like everyone who reads this magazine.

Recently, I started the course The Artist’s Way by Julia Cameron, and as part of that, I’ve been making an effort to spend less time on my phone. Last night, I worked on creating a vision board.

I cut out images from old Flow magazines—both the German and French editions—because it’s difficult for me to cut out from the Dutch edition. I still find that challenging. So, I used illustrations from the French and German versions to create a vision board focused on my future—on what I want to achieve and the experiences I’d like to have with Flow.

I continue to make an effort to stay connected with paper as much as possible, but sometimes, I admit, I get caught up in my phone or the television. Hopefully, you’ll find me engaged with paper when the moment is right.

Samir Husni: My typical final question, what keeps Irene up at night these days? 

Irene Smit: I am deeply committed to supporting young people with their mental health. It’s tough to see how much they struggle, and I always try to find ways to help. 

Whether through the magazine or collaborations like the one of Flow with the Museum of the Mind in Haarlem, the Netherlands, where we have a permanent Flow Slow Art Tour, I focus on providing programs that support their mental well-being.

Samir Husni:  Thank you.