NME exchange deal with OXFAM
This week Oxfam and NME invite music fans to spring clean their music collections and donate their unwanted leftovers to Oxfam stores in exchange for a free exclusive copy of the new-look NME.
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.
This week Oxfam and NME invite music fans to spring clean their music collections and donate their unwanted leftovers to Oxfam stores in exchange for a free exclusive copy of the new-look NME.
Dennis Publishing, publishers of The Week, Men’s Fitness and Auto Express, has announced the launch of its new event division, Dennis Events.
Distributor COMAG Specialist has welcomed CLASH back in the fold as the title celebrates its 50th issue with an exciting relaunch.
Polestar is bringing additional six colour production and a host of features to its web offset facility at Polestar Chantry through investment in a Heidelberg M600 16-page press.
British Journal of Wellbeing (BJW) is a new launch for professionals from the huge variety of occupations involved in mental health support.
PRWeek’s publisher Simon Lees and editor Danny Rogers have been made founding fellows of the PRCA, the consultancy trade body for the UK PR industry.
Future, the special-interest media group, today announces a number of changes to its games publishing team in the UK.
Future, the special-interest media group, are partnering with Sony to create the ultimate stereoscopic-3D (S-3D) film competition, as the manufacturer gears up to launch its new range of BRAVIA 3D TVs.
Guardian News & Media (GNM) has announced that it will be joining forces with Seven Squared Publishing, specifically for the production of its commercially-funded supplements, microsites and advertorials.
Future’s Procycling is unveiling a sleek new look following a major design refresh, which sees the editorial focus of the magazine shift to encompass the ever-changing professional racing scene.
IPC Innovator – IPC Media’s centralised insert and cross-platform direct response division – has announced that it is running an exclusive pop-up print ad in the May issues of some of its best known women’s glossy and home interest magazines.
Polestar is to automate all work-in-progress and finished material movement within its Sheffield plant, following an investment in ten Automated Guided Vehicles (AGVs), each equipped with laser guiding technology.
Bauer Media’s Brand Solutions team has secured two exclusive major campaigns from the Central Office of Information.
Contract publisher John Brown has just launched new magazine titles for Waitrose and Bupa.
The new issue of the official Torchwood magazine – on sale 15th April – plays host to an exclusive Torchwood comic strip penned by Torchwood star and fan-favourite, Gareth David-Lloyd.