Off The Page
David Hepworth on magazines and beyond
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.
David Hepworth on magazines and beyond
Condé Nast Britain will end 2017 in very different shape to how it started the year. New faces at the top, new structures, new ways of doing things. As new MD Albert Read tells Meg Carter, it’s all about getting the company ready for the future.
With advertising revenues declining, publishers are seeking loyal audiences and repeatable, predictable revenues. Membership models could be the way forward but, writes Carolyn Morgan, it does require a change in publisher mindset.
Jim Foster’s publishing world…
In this instalment of her now six-monthly round-up of key US publishing trends, Karlene Lukovitz sees an industry struggling to close the revenue gap but one demonstrating unprecedented levels of innovation.
The iPlayer gets about ten million download requests a day. It’s massive and clearly doing something right. Big Issue editor Paul McNamee is a fan and says publishers can learn a thing or two from the BBC catch-up service.
US Magazine publisher Time Inc said it was looking to sell several assets, including Time Inc UK, Time Customer Service and a majority stake in the Essence magazine, CNBC reported on Friday.
A partnership with Burberry debuted on Friday on the British Vogue and Vogue Paris Snapchat Discover channels. This cross-market partnership was driven by Condé Nast International Digital.
Haymarket Media Group yesterday announced a major new partnership with Bicester Heritage and Historic Promotions, the team behind Flywheel - the festival of classic wings and wheels, held at the WW2 RAF Bomber Station.
Esquire, Hearst’s luxury men’s magazine brand, announces the return of Esquire Townhouse, with Dior confirmed as headline sponsor for the second consecutive year.
Twice as many adults now use the internet on a smartphone than do on a desktop computer, as smartphones have become the most popular device for going online at every hour of the day, according to new data from Verto Analytics.
The Publishers Audience Measurement Company (PAMCo), has today released the latest NRS audience measurement figures, which blend NRS and AMP print readership data.
Wallpaper*, the international design, fashion and lifestyle brand, is celebrating its 21st birthday with the biggest, heaviest magazine it has ever published.
Stephen Quinn, Publishing Director of British Vogue for more than 26 years, will be retiring at the end of 2017, it was announced yesterday by Albert Read, Managing Director of Condé Nast Britain.
It was yesterday announced that agreement has been reached between Woodland Group and COMAG to fully acquire the assets of COMAG Forward, so that the post print services provided to its customers can continue to be offered.