Angela Merkel tops Forbes’ 100 Most Powerful Women List, again
Forbes has announced its 17th annual ranking of The World’s Most Powerful Women.
Consumer magazines spent most of the past two decades managing decline. The more confident publishers have stopped doing that. Newsstand sales and print advertising are still shrinking, but well-made titles with loyal readers are raising cover prices and growing.
Scale matters less than it did. Bauer has made Grazia a more premium product and charged more for it, while independents such as Anthem have put print back at the centre of the business and grown their export sales. Stylist has changed format several times without losing its readers. Others have gone the other way, and Gay Times dropped print entirely to build a global audience online.
For most consumer publishers, print is our USP. It’s the anchor that makes advertisers trust us and the very thing that readers want from us.
Jon Bickley Our print strategy: Anthem
Behind the confidence sits some hard arithmetic. Newstrade is now a small share of revenue and events and ecommerce are growing from a low base. Trust has become a selling point as AI fills the web with content of uncertain origin, but the paid-for consumer model that works at scale is still being worked out.
Below you'll find some of our best feature articles on consumer magazines, from premium print and cover pricing to brand extensions, membership and the future of specialist titles, alongside our latest news and industry commentary.
For a while now, magazine publishers have been on the defensive, unsure about the viability of their traditional business model in a fast-changing world. Katie Vanneck-Smith wants to change all that.
We asked Tamar Riley, portfolio managing director at Immediate, what does best practice publishing look like in consumer media? This is what she said…
For premium titles like Grazia, Mojo and Empire, growth is increasingly coming not from extending reach but from deepening engagement with existing passionate audiences, as Lauren Holleyoake tells Ciar Byrne.
The printed magazine will be a cherished part of people’s lives for years to come, says Jon Bickley, co-founder and CEO. That is why it’s the key component in Anthem’s publishing strategy.
With the arrival of AI and the widespread availability of unattributable content, specialist publishers need to ensure that their titles are the trusted go-to brands in their sectors, Our Media’s Andy Marshall tells Ciar Byrne.
Stylist’s mission has been clear from day one: to engage with its female audience in an intelligent, positive and non-exploitative way. 16 years on, and current PPA Media Brand of the Year, they are staying true to those values, says Lisa Smosarski.
Gay Times was stuck in a rut, tied to its traditional publishing model and reaching only a small part of the LGBTQ+ community. Under the editorship of Lewis Corner, that began to change, as he explains to Ciar Byrne.
Whatever the rest of 2024 holds, two things are certain. Firstly, the bumpy economic ride will continue. Secondly, the need for media companies to have a broad base of revenue streams has never been more important or more challenging to achieve.
How do you create a specialist consumer media business that is fit for the future? What steps do you need to take to be resilient and flexible as audiences and technology evolve? Carolyn Morgan researched 20 innovators from across Europe to find out.
For many publishers, circulation is all about chasing volume, but they would be much better off chasing profitability, says Natalie Smith, client relationship manager at Warners.
Forbes has announced its 17th annual ranking of The World’s Most Powerful Women.
The Editors’ Code of Practice is to be revised to underline the protection it offers to people with mental health issues.
The British Museum has partnered with archiving company Exact Editions to offer digital subscriptions to their membership magazine to institutions around the world.
James Burstall, CEO of Argonon, has acclaimed the UK and US-headquartered global production group as the world’s first “hyper-converged superindie” with the strategic acquisition of Nemorin Film & Video.
British Vogue has announced the launch of Vogue Fashion Now, a new editorial-led initiative to support the British fashion industry.
Zephr, a technology platform that helps media companies grow their subscription revenue, has raised $8 million, led by BDMI and financing from SVB.
vjoon, a leading global vendor of solutions for managing digital content, introduces vjoon K4 Version 11 and vjoon seven Version 2.
TIME, TIME for Kids and Nickelodeon have announced 15-year-old scientist and inventor Gitanjali Rao from Colorado as the 2020 Kid of the Year.
Passendo, a leading European in-email advertising platform commercialising newsletter inventory, has launched its ad server and exchange capabilities in the UK market.
Readly has launched a new set of annual awards to celebrate forward thinking and progressive publishers and recognise performance within digital audience engagement.
PPA Scotland announced the winners of their annual awards in an online ceremony.
The press regulator IPSO has published research on editorial standards in coverage of transgender issues between 2009 and 2019.
At the recent PPA Independent Publisher Conference, the seven editors shortlisted for the ‘Editor of the Year’ award, gave attendees their perspective on 2020.
What a year it’s been, with lots of challenges, but also opportunities. Ahead of next week’s Campaign Publishing Summit, we grab five minutes with Lucy Howard, head of marketing at Haymarket, to discuss the key takeaways from this year.
For many companies, digital transformation has accelerated this year. We grab five minutes with Affino CEO Markus Karlsson to discuss some of the options and opportunities facing publishers as we head into 2021.