Future appoints new Chairman
Specialist media company, Future plc has appointed Richard Huntingford as Non-executive Director and Chairman-designate with immediate effect.
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.
Specialist media company, Future plc has appointed Richard Huntingford as Non-executive Director and Chairman-designate with immediate effect.
The Independent Press Standards Organisation (IPSO) today announced the launch of the IPSO mark, a visual symbol that can be used by all its publications to show their commitment to professional standards and an edited, regulated product.
Following a year-long pilot, the Independent Press Standards Organisation (IPSO) this week announced the details of its low-cost arbitration scheme, featuring much-reduced costs for claimants.
The conversational app enables users to discover the best things to do in London, say the publishers.
The PPA’s Independent Publisher Conference and Awards was held this week at the Hilton Bankside in London.
Alessandra Steinherr has been appointed Associate Creative and Beauty Director of the new beauty-first, digital-first Glamour.
James Evelegh's editorial from today's edition of InPubWeekly.
Whether it’s performance league tables for hospitals and schools, the number of donated pennies per pound spent on charitable causes or, perhaps more subjectively, Arsenal’s appetite for possession over goals, focus on critical ‘outcomes’ is lacking
The output from this year’s Publishing Futures project is not so much a report, but more of a diagnostic tool. It provides the structure for publishers to “run the ruler” over their operations to get a better sense of how their business is functionin
James Evelegh’s roundup of some of the news stories that caught his eye during September and October.
Jim Foster’s publishing world…
Whether we live in a castle or a studio flat, we all need a bit of inspiration to make the best of the place we call home. Alan Geere goes looking for design tips.
It was the year the US president kept up his assault on the press as ‘fake news’ and in the UK, some in the media were accused of being unpatriotic and wanting Brexit to fail. There was also some self-criticism. How did journalists fail to predict Th
David Hepworth on magazines and beyond
One year off its thirtieth birthday, the UK edition of Hello! is holding up well at the newsstand and developing its digital offering too. As Rosie Nixon and Kevin Petley explain to Ciar Byrne, the secret of their success is remaining true to their b