PRESENTING
EVERY | MAN A BESPOKE MAGAZINE FOR THE MODERN MALE
Fig. 1. Everyman Magazine: 2014 (Front cover image).
Fig. 2. Suit Tailoring: 2014
EVERY | MAN A REPORT TO EXPLORE THE MAGAZINE LAUNCH OF THE FIRST BESPOKE MEN‘S MAGAZINE
Hannah Austin / N0365306 / Fash30002
8
CONTENTS
10 INTRODUCTION
84 THE CONSUMER The Professional Man The Creative Man The Dapper Man
12 METHODOLOGY
16 WHY NOW? Return to Authenticity Personalosation Brand Sponsorship
92 COMMUNICATION STRATEGY Positioning The Digital Counterpart Promotion Mission Statement
102 THE FUTURE
30 THE MARKET A Global Perspective The Decline of the ‘Lad Mag’ Rise of Independents SWOT Summary
44 THE BIG IDEA The Concept The Content Why is it Relevant?
58 CREATIVE OUTCOMES Case Studies Design Development
106 CONCLUSION
108 REFERENCES
112 ILLUSTRATIONS
116 BIBLIOGRAPHY
76 BRAND SPONSORSHIP Why Dunhill? Benefits to Dunhill Benefits to Everyman
122 APPENDIX
INTRODUCTION
10
Today’s media dominated society, fuelled and saturated by celebrity culture and ostentation, has resulted in a multitude of social and cultural effects whereby our commercial environment is consistently evolving and consumers are demanding more. Author Paul Hodkinson suggests that ‘the digital revolution heralded fundamental cultural change and the creation of a better society’ [Hodkinson: 2011], by ultimately igniting the influx of the Internet and increasingly digitalised channels of communication; altering the way consumers access and share information. However, this sentiment of seemingly influential change is not shared universally, as a backlash of individuals demanding more substantial, meaningful lifestyles have demonstrated a wider cultural shift, returning to more authentic methods of communication and artisanal craftsmanship. In particular, magazines have remained at the heart of this movement as an ‘indispensible source of cultural history, providing a very vivid and compact record of the zeitgeist’ [Moser: 2011]. From historical Dada and Expressionist movements, to recent popular manifestos, print has undoubtedly proven itself with a wealth of rapid innovation, resulting in today’s era of evidently diverse cultural and visual trends.
Marsden also debates the relevance of their content to the 21st century bloke. A shift in consumer lifestyles and the male demographic has highlighted the desire for more meaningful and intelligent content, creating the notion that their typical target consumer no longer shares the cheapened values lad mags hold. Combined with the evolving nature of online material and compounded by a damaging recession, this magazine genre ‘is feeling what theatre felt when radio and TV were invented’ [Buckland: 2014]. Deflated and abandoned. Nevertheless, despite this sectors evident sharp decline in sales, it has displayed a ‘mini renaissance in independent titles’ [Hooper: 2012], including publications such as Port, Fantastic Man and Dapper Dan. The success of these once again validates the belief that there is no longer a mass market for the traditional lad mag genre of magazine. Although only 48% of the male demographic read traditional print [King: 2012] along with digital alternatives, this impulse of independently produced titles specialise in offering more premium, focused content to the modern man; fundamentally stabilising a market experiencing a downward spiral.
Emerging from such technological advancements and digital connectivity, print magazines have particularly gained fierce competition from platforms including online news channels; to gain the attention of their consumer and maintain the traditional tangible relationship. ‘Following their triumphant launch in the mid-1990’s, the magazines that might loosely be termed “lad mags” now appear to be stuck in decline’ [Marsden: 2012] more than most. Whilst a portion of this sectors fall in consumption can be largely related to the overall decline in print magazine sales,
Facilitating the demands of this new consumer, this report explores the concept and launch strategy for a new contemporary niche magazine; defining clear communication channels and an effective visual identity. Quarterly magazine Everyman will celebrate the diverse nature of the male demographic by providing a personal, bespoke issue to each consumer. Disregarding the outdated nature and content of the typical lad mag, Everyman will administer the presently desired intelligent content and beautifully stylised design.
11
METHODOLOGY
12
METHOD
DESCRIPTION
REASON
Primary Research
Ethnographic researchobserving magazine stands in a number of independent and chain stores.
To gain a vivid insight of what the men’s magazine market currently offer to the 30-50 year old consumer, in addition to also recognising how consumers were interacting with the magazine stands and which genre of magazine gained the most attention.
Primary Research
In-store visual researchphotographing magazine stands in various stores including Waterstones, WHSmiths and a number of independent shops.
To gain a visual representation of the current saturation of the men’s magazine market, and the diversity of existing publications.
Primary Research
In-Store Interview in Waterstones with a 35 year old consumer browsing the leisure magazine stand.
To discover what brought this consumer to browse for a magazine today, and what they were looking for. Moreover to find out what publications they regularly purchase, and the topics they find most enjoyable to read about and why.
Highly useful as it gave in depth insight into specific genres and topics within magazines that the consumer most enjoys reading about. These results could then be compared with other consumer insights as well as secondary research findings.
Primary Research
In-Store Interview in Waterstones with a 42 year old consumer browsing the men’s magazine stand.
To gain a greater understanding of the consumer decision making process, and what influences the 30-50 year old demographic to make a final purchase. Do they currently subscribe to any magazines online?
Helpful in underpinning the fundamental content a magazine should contain in order to appeal to the consumer. Highly influenced final creative outcomes as it demonstrated the persuasion techniques that can be used to draw consumers in.
Primary Research
In-Store Interview in WHSmith with a 48 year old consumer flicking through various men’s magazines.
To discover what this consumer is looking for in a magazine and what publications they usually purchase from a magazine store. Do they currently subscribe to any magazines online?
Highlighted the growing appeal of online magazine subscriptions and popular content topics; ultimately aiding the decision making process when it came to deciding upon magazine topic options during the creative outcomes stage.
13
EVALUATION Extremely informative as it provided a clear understanding of what the target consumer is currentlly interested by. It also resulted in interviews with both consumers who went on to purchase a magazine, and those that returned them to the stand. This was a relatively useful method of research as it demonstrated visually where a new niche publication would fit within the market. This also went on to further influence the visual identity of the magazine as it was important to differentiate.
Primary Research
In-Store Interview in The Magazine Shop, Nottingham, with a 37 year old consumer.
Gain the perspective of a consumer shopping in an independent magazine store rather than a chain store, in the hope there would be some obvious differences between this consumers behaviour and others.
Useful in demonstrating how shopping environments affect purchasing decisions. This consumer felt more relaxed shopping in independent magazine stores; therefore made more purchases.
Primary Research
Email the Smith journal.
Gain greater understanding of the 30-50 consumer demographic and what they felt this market desired from a print magazine compared to an online magazine. Do they feel that visual creativity in print outweighs the desire for online information?
After following up this email a few times, unfortunately I was unable to receive a direct reply to my questions, however was advised to look at their official website for further information which proved useful for vital background knowledge.
Primary Research
Email Kinfolk Magazine.
Secondary Research Books: A range of cultural theory and magazine design based books were studied, including The Men’s Fashion reader by Peter McNeil, Media Culture and Society by Paul Hodkinson and The Art Directors’ Handbook of Professional Magazine Design by Horst Moser. Secondary Research
Websites: Magculture, The Independant, Media Week and The Guardian are just a selection of websites which highlighted various issues and challenges, shaping the tone of voice Everyman would hold. Specific magazine websites such as Port-magazine.com and Stackmagazines.com were also explored.
Gain greater understanding of the 30-50 consumer demographic and what they felt this market desired from a print magazine compared to an online magazine. Do they feel that visual creativity in print outweighs the desire for online information?
Despite an almost instant reply to my email, no one from the Kinfolk team was able to directly answer my questions. Nevertheless I was sent a press kit with contained some useful background information on the magazine and how they generate interest around it every issue.
The aim of this was to indentify the wider social and cultural effects currently influencing the magazine market, and gain insight into visual design techniques which could be later applied during the creative outcomes stage.
Aided the progression of visual outcomes by demonstrating how to create a unique, creative identity within print. As this was one of the main aims of this report, it was fundamental that a unique, design based publication was created in order to increase its appeal to the consumer.
The aim of this was to gain an in-depth understanding are what is currently being offered within the men’s magazine market, and how the desires of the 30-50 year old consumer were changing as society witnesses the development of the 21st century male.
The method was highly useful for gaining information relating to digital advances within the market, which was ultimately leading to new trends such as artisanal craftsmanship and the growth of independent publications. Moreover it demonstrated future trend predictions, which were then backed up during primary research with consumer interviews.
14
Secondary Research
Journals and Reports: Databases such as Mintel and Revista Communication provided reports covering everything from the decline of the current men’s magazine market and specific segment performances across the industry.
To gain insight into how the market was currently performing across all print sectors, focusing on both mass market publications such as Shortlist, as well as more niche publications such as Dapper Man. A more global perspective was also explored through the analysis of popular overseas titles such as Australia’s’ The Smith Journal, in order to evaluate what ideas could be taken and brought to the UK market.
15
This was an extremely useful method for gaining clear statistics and quantitative data, ultimately identifying opportunities for future growth and gaps within the market.
WHY NOW?
16
Fig. 3. Still Inspiration: 2014
In order to determine how a new independent magazine could be introduced into the current market and survive with longevity, a number of contextual factors have been identified and examined.
17
A
RETURN TO AUTHENTICITY Authenticity concerns the truthfulness and sincerity of origins; being geuine and valid. ‘The exploration of what a magazine can be isn’t limited to the overt debunking of physcial formats and conceptual experimentation’ [Leslie: 2013].
18
Fig. 4. Flower Cream: 2013
19
Fig. 5. Driftwood: 2014
20
A return to authencity is the first influential factor to weather the current market and affect consumer. decisions by encouraging them to engage with more traditional methods of communication. This trend suggests that despite the interactive nature of digital communication channels and the accessibility of online content, including on-the-go information and the commonly termed ‘freemium’ titles, there is a broad spectrum of conflicting reactions against this faced paced information movement and its omnipresent nature; subsequently we are seeing a ‘resurgence of print publications, with consumers responding to the perceived value and luxuriousness of tangible print magazines’ [Stylus: 2013]. The motive for escapism and disconnect with our continually coherent society, has essentially displayed an overriding desire for more unique, intimate experiences that cannot be persisently duplicated or re-lived. Just as Masurier suggests that ‘a screen cannot duplicate the materiality or the object-life of the magazine’, primary research interviews also re-informed this, with consumers stating that ‘the experience of reading a magazine is much more meaningful when holding a physical copy’ and that ‘there is something more sentimental about a tangible magazine’ rather than digital versions [see appendix 1]. This evidence revealed print to be the ideal platform for offering a sense of authentic escapism and retreat through a more secluded channel that the Internet; which targets a mass, mainstream audience and is invariably available. Ultimately, it has proven that within the current market, print magazines have the opportunity to differentiate from alternative information sources based upon this sense of exclusiveness and their authentic nature.
and rooted within human nature, the need for The Slow Movement; a term describing the ‘efforts around the work that seek to connect us more meaningfully’ [Anon: 2014], also advocates the cultural shift to more fulfilling lifestyles. As a consequence of Globalisation, this shift implies that in a world dominated by corporate brands, individuals are looking to extricate themselves and be part of something more personal and privileged. A consumer behaviour study by Voinea re-informed this by indicating that deriving primarily from this search for exclusiveness comes a tendency ‘to reject goods produced and sold in mass, for products and services that claim to be authentic in some way’ [Voinea: 2011]. Operating within the current print industry, new publications will face the challenge of how to achieve an authentic personality whilst meeting a high growing consumer demand. On the other hand, despite our pursuit for authenticity and offline media, we are reminded by writer and magazine pioneer Jeremy Leslie that both brands and magazines ‘with websites will have the advantage over those that don’t, because they will attract a homogenous, targeted audience that will also be getting their information through more than one format’ [Leslie: 2013]. This is ultimately implying that society will continue to delve into typical decision making processes; choosing digital media, and will not entirely reject the convenience that such decisions bring. Entering an age ‘where the magazine is supported by the website and app’ [Crowe: 2013] means sustaining a balance between the two, harmoniously connecting their offline and online experience, in order to meet societies desire for both faced past information and a return to The Slow Movement; conclusively balancing the conceptual and commercial.
In the shadows of increasingly digital-led creativity
21
Fig. 6. Made to Measure: 2014
22
P
PERSONALISATION Personalisation is the process of individualizing or producing something specfically adjusted to a particular individual. ‘From bespoke suit-makers such as A Suit That Fits to car manufacturer Vauxhall with its Adam range, businesses are showing that putting design options into the hands of the consumer is a clear route to individualisation.’ [Bainbridge: 2013].
23
Extending from the cultural shift demonstrating societies search for authenticity, and as a ‘consequence of the digital world that we have all come to embrace, is the level of personalisation it affords us’ [Bainbridge: 2013]. From shopping websites logging purchasing histories, to methods of product recommendation, the influence of Web 2.0 and rise of Big Data highlight the growing popularity of personalised goods and services, which are changing the way society interacts with brands by creating deeper, more intimate relationships. As a direct result of this, Bainbridge proposes that ‘in this consumer-centric environment, there is a growing assumption that such tailoring should be possible in most walks of life’ [Bainbridge: 2013].However, in spite of various retail and technological sectors employing this marketing technique, the print industry is just one many that has yet to have utilised the trend for its advantages.
secondary research has proven that consumers are becoming increasingly aware of what is possible and necessary to maintain their engagement. In the print market it is possible that ‘specialist content of such publications can become highly profitable’ [Hodkinson: 2011] by drawing in niche consumer demographics and raising a products awareness. This statement by Hodkinson also indicates the growing popularity of more focused, taregted magazine content most commonly seen with more independent titles. As just mentioned, the retail sector more than most, commonly provides consumers with personalised goods and services to meet the growing expectations in its likewise ever-changing landscape. During the recent recession ‘a slower that desired global economy may have proved bad for retailers and businesses worldwide, but for consumers it helped kick off what will become a much more personal shopping experience’ [Price: 2013]. Driven by digital media, campaigns such as Coco Cola’s named bottles and Chanel’s DIY backpack represent how all spectrums of the sector ‘expect an end-to-end, personalised conversation and experience with a brand’ [Tesseras: 2013]; with 56% of consumers dictating that they would be more inclined to use a service if it offered an effective personalised experience [Tesseras: 2013]. In relation to a weakening magazine market, there is evidence to suggest that this shift in consumer expectations could provide a valuable tool for revitalising declining sales through ‘a love of niche culture’ [Thielman: 2013] and bespoke content.
The growing popularity of personalisation among consumer’s everyday experiences has raised the question as to what extent it can be applied to offline sectors such as magazines; which has ensuingly shaped the beginning of Everyman. One interviewee during primary research also questioned this, articulating that ‘without unique user experiences people get bored and move on. Give me something unexpected and I’ll take it’ [see appendix 1]. A similar belief in relation to print magazines is re-instated by Buckland who suggests ‘the more persuasive digital media gets, so the more unique and special print media becomes’ [Buckland: 2014]. This combination of consumer opinions and
24
Fig. 7. Tailoring: 2014
25
B
Brand Sponsorship ‘A reader’s identification with an engaging magazine can go well beyond the simple provision of information and ideas. When a magazine strikes a chord it can reinforce the reader’s own self-image’ [PPA: 2014].
26
Fig. 8. Cos Magazine Design: 2013
Print publications can take advantage of both the discussed personalisation trend and societies search for authenticity through the third influential factor; brand sponsorship. This can be successful in creating an effective positioning and marketing strategy in an already saturated market. In this climate where consumer-brand relationships are becoming ever more meaningful, sponsorship can be a profitable implementation technique leading to increased brand awareness, whilst securing a publications stability, timelessness and longevity. ‘You can find unlimited opportunities to broaden your competitive advantage by increasing your credibility, image and prestige’ [Friedman: 2014], appealing to a target market through a more direct offline communication channel. Brands including Whistles, COS and Mr Porter have already placed tangible magazines within their marketing strategy, which have become popular offline routes to consumer, along with brand websites and in-store environments. The success of these exhibits a growing market for this genre of print among a changing demographic, which highlights their appetite for additional and continual interaction with brands. These often communicate a lifestyle, rather than acting solely as a brand promotion technique.
27
Defining a unique visual identity through brand sponsorship also instinctively differentiates one publication from another. Selling a specific lifestyle, this identity can be beneficial for engaging more niche markets, through the production of something catered around their particular interests, rather than that of the mainstream masses. ‘Shifting consumer habits and a constantly changing media landscape therefore drives the need for brands to think creatively about content and partnerships’ [Pavlou: 2012] in order to create a wider awareness of themselves and be seen as authentic in some way. An interviewee during primary research expressed an interest in such collaborations, although did suggest that ‘something lifestyle based’ would be better [see appendix 1] for increasing consumer engagement. Referring back to the democratising effects of Globalisation, this insight implies that brand sponsorship can create a distinct identity in comparison with that of larger, corporate brands, by injecting a specific aura of personality into them. Combining these factors, a brand sponsored magazine will act as a more authentic channel of communication compared to that of a brand website.
Fig. 9. Acne Paper 12: Youth Issue :2013
28
Additional consumer surveys also showed a heightened, positive attitude towards brand sponsored magazines, with 67% of target consumers stating they have previously read issues from brands both at the high end and lower end of the market. This vital insight validates a popularised interest in alternate forms of brand interaction, suggesting further scope for other new publications of the same genre. ‘Passion’ and ‘knowledge’ [Rowlands: 2013] fuel the heart of a magazine, causing both loyalists and secondary consumers to gravitate towards it for the sole purpose of its content appeal; therefore this establishes that by utilising offline communication channels, brands can create a deeper connection that resonates with an array of demographics. However, author of the Art Directors’ Handbook of Professional Magazine Design also warns that the ‘power of innovation is vital’ [Moser: 2011] as well, if a magazine it to succeed within the market and establish itself as a respected publication.
29
THE MARKET
30
Combining all of the previously mentioned cultural factors, an in-depth analysis of their overriding effect on the global and UK magazine market has been carried out.
31
Informative
EVERY | MAN Entertaining
High End
Low End
Fig. 10. Initial Market Analysis: 2014
32
EVERY | MAN
Initial analysis at the men’s print magazine market displayed a variety of publications offering both informative and more entertainment based magazines. Those situated within the lower end bracket of the market proved to be very similar in terms of content and design, athough those at the higher end offered more variation. An initial gap has been indentified for Everyman magazine within the context of enertaining, independent magazines.
33
G
A Global Perspective
‘There are no companies with a dominant market share in this indsutry’ -[PWC: 2014].
Additionally, a number of economical and technological factors are also impacting the general print and magazine market in a number of ways; not only in the UK, but on a more global scale. However, in defiance of the general decline in print sales and distribution in the UK, ‘the global consumer magazine market is proving resilient, and at a global level, it will even see a modest recovery, rising in value from $81.9bn in 2012 to reach $83.3bn in 2017’ [PWC: 2014]. This implied scope for growth suggests entering the market could be a beneficial investment for new publications, with something new to say. McLoughlin reminds us that in spite of our increasingly digital lives ‘magazines are an immensely popular cultural form’ [McLoughlin: 2000], and undeterred by the popularity of digital communication channels, which are frequently used for their low-cost convenience,
‘visible ownership is very important to magazine buyers’ [Burrell: 2014]; as even the best hand-held devices impose boundaries around magazine content. A consumer survey by Deloitte also confirmed that ‘88% of magazine readers in the UK still prefer to consume articles via print’ [Hooper: 2012], as a generation raised on digital media ‘rediscovers the pleasures of the printed page’ [Burrell: 2014]. Although digital communication channels bring many valuable opportunities, there is a sentiment and meaning that can only be offered through print. Subsequently, the rise of digital media and passion for print within our global society, suggests that the role and purpose of them both should be more defined in order for the two to complement each other and provide a mutual benefit to the reader despite their differences, rather than compete for our mindful attention.
34
Fig. 11. Display Design: 2014
35
D Decline of the Lad Mag
With this general decline in UK print distribution and interest in magazines produced for the mainstream masses, ‘the value of the men’s magazine market has plummeted in recent years, with a downward curve that began in 2006 compounded by the recession’ [Mintel: 2012]. 56% of their tradtional consumer base flocked to digital alternatives, accessing the same information for free; the convenience of this changed consumer demand, lessening the need for traditional print alternatives. One significant ‘problem with lad’s magazines that is acknowledged by Gauntlett is their tendency to overtly exclude non-heterosexual identities from the version of masculinity they construct’ [Hodkinson: 2011], and while ‘men are responding to changing economic and political circumstances’ [Brooks: 2009], lad mags are not. This lack of change is ultimately highlighting the emerging difference between those
36
younger readers that have no loyalty to any format and are captivated by free titles, and Everyman’s target demographic that are prepared to pay for quality. As a result, the ‘changing consumer demographics and interests seem to be taking away the market for lad’s mags which did so much to invigorate the market in the 1990’s’ [Mintel: 2010]. ‘No amount of cover leg seems to be able to save them now’ [Morton: 2012] as their once loyal consumer base who would make such purchase. look to more informative alterantives. ‘The power of innovation is vital to the very existance of magazines’ [Moser: 2007], however, the lack of recent innovation within this segment suggests there could be a gap in the market for a new publication that meets the demands of their relatively unacknowledged consumer. The develoment of Everyman will overtly look to explore this area further in order to suitably situate itself within the market gap.
Fig. 12. Decline of the Lad Mag: 2014
37
R
Rise of Independents Lastly, one of the most influential rewards a return to authenticity has resulted in, is an increase of independently produced publications which represent an impulse to make magazines facilitated by a diversity of cultures and for a more narrow, loyal consumer base. Somehow, where these magazines are concerned, ‘the absence of a sizeable audience is mirrored by a fierce loyalty among those who make the purchase’ [Farber: 2012]. The keepsake element and sentimentality of these publications highlight how ‘independent publishing has grown up and the primitive monochrome fanzine has flowered into something more artful with scores of new titles serving niche international customer bases’ [Burrell: 2014]. An aesthetically pleasing design and artisanal craftsmanship separate these magazines from mass produced alternatives; characterizing them as objects worth holding on to.
38
Additonally, the typically concentrated content of independently produced publications has also aided their rise to success. Darren Singh, publisher of freemium title Shortlist magazine, supports this belief by taking the viewpoint that ‘anything that seems to be coming from a more focused proposition is faring better’ [Singh: 2012], although he always warns that without the right distribution it will not reach the quality audience being targeted. This lack of meaningful content has the ability to let such titles down, where craft and design has been placed at the forefront. Steve Watson, founder of Stack magazine subscription service re-iterates this by stating the most successful magazine will be ‘a mag with something to say, with a distinctive point of view and a stylish way of saying it’ [Watson: 2013]. Collectively, both these elements; design and content, have the ability to set a magazine apart from others, causing them to live up to their more meaningful nature and create personal consumer relationships.
Fig. 13. This is not an Addiction to Creative magazines covers that you want to lick: 2012 39
‘Magazines such as Article, Kinfolk and the Green Soccer Journal have production, design and editorial philosophies that re-imagine our experinece of magazines’ [O’Reilly: 2014]..
The endearing idea that a magazine can been seen as a collectable and keepsake item it echoed by writer for The Guardian John O’Reilly who articulates that the ‘revival of the handmade and craft culture is a direct result of our societies ‘reaction to increasingly digital lives’ [O’Reilly: 2014]. The current boom of limited, impeccably laid out magazines such as popular titles Kinfolk and Oh Comely, identify that within the death of print, is a growing market for niche publications; which are ultimately shedding some light on an otherwise gloomy outlook. As more people return to the appreciation of the magazine as a tangible object ‘premium and more specialised monthly titles are among the better performing segments of the market, which is a trend that should endure postrecession’ [Mintel: 2012]. Primary research once again re-informed this with a number of consumers sharing the belief that independent magazines have an
‘individual voice and an alternate way of expressing an opinion’ [See Appendix 1], which is preferred in comparison with mainstream alternatives. Identifying a niche market for a new independent magazine that will engage a lost consumer, will be beneficial for revitalising both the market and further consumer interest in print. Considering all contextual factors and societies current desire for more authentic, personal methods of communication, it shows that there is large scope for a magazine that will cater for this. Primary consumer research established that men aged between 30-50, will only read on average 49% of a magazines written content, with one consumer also stating that ‘there is only certain things I read a magazine for, so most of the pages won’t even be turned’ [See Appendix 1]. This shows a large appetite for more specific, targeted information.
Taking into consideration all of the above factors, including the rise of independent magazines, the desire for more targeted information and decline of the traditional ‘lad mag’, it demonstrates a clear gap in the market for a new publication which will take advantage of these; in addition to also providing an exciting opportunity for an appropriate brands involvement. It is hoped that Everyman will sucessfully fill this gap as the first bespoke print publication to be released on the market, as a brand sponsored magazine. A SWOT analysis has been carried out to summarise all significant factors determined within this section of the report [see page 42-43].
40
Fig. 14. Independent Magazine Market: 2014
41
STRENGTHS
S 0
+ Anything that seems to be coming from a more focused point of view is fairing better. + The spread of new cultural trends displaying an emergence of people and thinkers interested in knowing where things come from, the background behind them and how they are made. + The persuasion, growth and development of digital communication channels have highlighted the uniqueness and specialities of print media. + Independent magazines are much more likely to gain a loyal following, compared to traditional mainstream magazines. + Consumers expect a consistent array of unique and personal brand experiences.
OPPORTUNITIES
+ No other publication on the market currently offers the option to create a bespoke publication catered to an individual consumers interests. + A current lack of independent magazines currently directly targeting a wide 30-50 year old demographic means Everyman has the opportunity to fill this gap. + With an increasing number of brand sponsorships arising in relation to the magazine market, there is evidence to suggest that this could be a beneficial marketing strategy for Everyman and good route to consumer.
WEAKNESSES
W T
+ Everyman will rely heavily on the consumer and their desire to go online and select their chosen content for every issue. + If the level of demand for Everyman increases, as hoped, the online content available to choose from will have to be on a larger scale and be more differetiated in order to meet a diversity of consumer interests.
THREATS
+ Effectively differentiating Everyman in terms of design and aesthetic as to not coincide with any other independent magazines currently on the market.
+ A consistent change in market conditions, and rise of digital communication channels may pose a threat in terms of what information is made available online, and how consumers react to this.
THE BIG IDEA
44
Collectively, an in depth examination at social, cultural and political factors, as well as the current market for print magazines has informed and identified a timely and relevant ‘Big Idea’ for a new quarterly independent men’s magazine. Its primary aim will be to celebrate the uniqueness of the individual man through a customisable publication, created around their personal interests and purchased as a unique keepsake. As well as the focus of personalisation, meaningful and intelligent content, as well as a beautifully crafted design will be at the forefront of the magazines values. Everyman will be produced in association with clothing and lifestyle brand Dunhill, who will act as a sponsor and collaborative partner. The reasoning for this partnership and benefits for both consumer and brand will be explained further on within this report.
45
C
The Concept
The concept of Everyman has been created on the basis that in this era of post-fordism, and within our democratised society, we believe in celebrating the uniqueness of individuals and offering an escape to the demands of modern day life, through the exploration of personalised content and a focus of the finer details. In a world of mass produced goods, the exclusive bespoke publications, based on the consumer’s personal reading habits provide an essential retreat via a more meaningful, catered measure. Specifically designed for each individual, Everyman will take the consumer on a journey through their most desired interests.
46
Similarly to the magazines identified in the previous section, Everyman will be produced independently in collaboration with clothing and lifestyle brand Dunhill, to coincide with the current rise in the popularity of likewise publications. The magazine will maintain the enterprising values of the brand in addition to that of a traditional independent magazine. The name ‘Everyman’ was chosen on the basis of the magazines customisable nature and the sense that it can appeal to a diversity of consumers through its personalised content. This term also relates to the ‘ordinary’ or ‘typical’ human being, of which reinforces the belief that it appeals to more than just its primary target independent magazine, or Dunhill consumer. In various aspects of the media including literature and drama, the ‘Everyman’ is seen as an individual with whom society finds identifiable and can relate to. The definitive nature of this in contemporary media is constructed through personal choices and lifestyles. Everyman magazine will play upon this diversity of personality. Despite its association with Dunhill, the magazine will take both an individual and recognisable tone of voice in order to engage the target reader of whom is ‘interested in style and consumerism’ [Brooks: 2009]; whilst also offering the stylistic identity primary research proved consumers desired. The emphasis on this will re-instate the magazines sentimentality and keepsake appeal.
Fig. 15. Colour Portrait: 2014
47
C The Content
‘The consumer is much more likely to engage with independent editorial content than with conventional purely product-focused advertising’ [Pfeiffer: 2012].
48
Fig. 16. Everyman Trend Spreads: 2014
Fig. 17. Everyman Food Spreads: 2014
49
50
Fig. 18. Everyman Photography Spread: 2014
51
Fig. 19. Everyman Photography Paul Dukovic.: 2014
Fig. 20. Everyman Photography Paul Dukovic 2.: 2014
52
Apart from the personal, hand written letter provided with each issue of the magazine, additional giveaway products and information available on the magazines digital counterpart, the main channel of communication for Everyman will be the tangible publication received in the post. This will ultimately be the primary access point that communicates the magazines authentic and personal touch. To emphasise its authentic appeal further, all articles provided within each individual magazine will be carefully selected upon the consumer’s personal interests chosen during the subscription stage online; resulting in a unique publication for each consumer. In order to consistently maintain the customisable element that will be at the forefront of Everyman’s communication strategy, it is important during every quarter when the magazine is sent out that each consumer receives an added, unexpected extra that has been chosen for them based upon the interest information they have provided. Whether this is a small travel kit or map for those most interested in travel, or a trend booklet for those particularly interested in fashion, it is vital that there is always an element of added surprise
53
in order to continually engage the consumer and increase brand loyalty. To heighten this further, reader’s will have the option to also suggest topics they would like to read about that are not currently on offer from Everyman or other magazines on the market. This almost reader-generated content will enhance the relationship with consumer and magazine by continually moving forward its personal aspect. Though produced in sponsorship with Dunhill, Everyman will feature outside advertisements and products which although differ from Dunhill’s, also promote and fit their brand values. In order to not exclude additional demographics, and enhance the magazines diverse nature, Everyman’s tone of voice as mentioned previously will resonate with a variety of consumers. Combined primary consumer research and information from Dunhill online, has provided a list of the top 10 topics men of the 30-50 year old market most enjoy reading about. These 10 will be used on Everyman’s digital counterpart, leading to more focused subject matters that consumers will have the option to choose from.
Alongside the personal content provided within the tangible magazine, it was important that the consumer can further utilise its sense of escapism through the previously mentioned giveaway products which relate to the content chosen within their issue. The aim of this is to extend the consumer-product relationship into a more intimate readership experience. It is also hoped that such giveaways further inspire the consumer to go away and explore such themes they have read about. Prototype examples have been created to visually display possible giveaway items.
Trend Booklet for the style conscious consumer.
Fig. 21. Everyman Giveaways.: 2014
A disposeable camera for the inspired photographer consumer.
54
An in-depth travel guide for the on-the-go consumer.
Unknown CD’s and casettes for the music loving consumer.
The constant change in content, giveaway products and the way Everyman interacts with its consumer is necessary for establishing a strong, consistent relationship with them. This method of interaction will also maintain the element of surprise every issue, whilst increasing the consumers desire to continue their subscription for this reason. Additionally, the opportunity for physical interaction through giveaways also extends the reading experience off the written page, bringing the magazine to life. This differs from any other print readership experiences currently on offer; making Everyman a magazine that is not only read from cover to cover, but something that can be continually engaged with over time.
55
Why is it Relevant? Until recently, personalisation and the idea of bespoke goods has been most commonly associated with retail sectors. The development of technology has primarily aided its growth within these, popularising it among consumers; nevertheless, it is now sparking an interest within other fields. Research has shown that the print industry is yet to have explored this area and possibly utilise it as an opportunity for revitalisation, and produce bespoke publications to be sold on the market. It is hoped that Everyman will be the first to do this and further change the perception of what bespoke goods can be, in order to become the first to bring a personalised publication to the shelf.
56
+
Consumer interviews [see appendix 1] allowed me to collect a large amount of data when it came to discovering what aspects of a magazine men of the target age group would like to be personal, and what they desired to read about the most within them. Although a range of answers were given, technology, travel, trend, music and food achieved the highest ratings among the diverse 30-50 year old consumer base.
Fig. 22. Consumer Analysis.: 2014
57
CREATIVE OUTCOMES
58
In order to successfully execute the Big Idea, a set of creative outcomes have been identified that will assist in the creation of a meaningful product and effective communication strategy. Firstly, a collection of case studies have been created for the purpose of gainging ideas around Everyman’s tone of voice, visual identity and angle of content.
59
Case Studies
+
Tone of Voice: Roadbook
‘RoadBook is a luxury lifestyle magazine for men that stands for a particular kind of understated glamour. It celebrates life’s finer details; an antidote to throwaway ‘bling’ culture in favour of quality and craft. It is dedicated to gentlemen on a journey.’ [Magpile: 2013].
‘RoadBook is a luxury lifestyle magazine for men that stands for a particular kind of understated glamour. It celebrates life’s finer details; an antidote to throwaway ‘bling’ culture in favour of quality and craft. It is dedicated to “gentlemen on a journey’. [Magpile: 2014]
Fig. 23. New Work: Roadbook Issue 2: 2014 60
Fig. 24. Roadbook 2nd Edition: 2014
Aimed at the 30-60 year old male market, Roadbook has successfully created a unique identity through its individual tone of voice and message, resulting in a strong following of loyal readers appreciating the magazine for its formal but entertaining approach. Its focus is on travel, though using an identifiable tone of voice in order to educate and entertain the reader. The magazine describes itself as ‘appreciated for its beautiful and large photographs... specialized, enjoyable and accessible’ [Roadbook: 2014].
In addition to Rodbook, Everyman will pride itself on a sense of accessibility, though reiterating is exclusive nature through its customisation strategy. It will aim to similarly use an informative but entertaining tone of voice in order to create an engaging and personal relationship with the consumer; therefore also gaining a loyal consumer base. Nevertheless, whereas the content of the Roadbook magazine is very precise and focused, Everyman will cover a range of topics differentiated by the interests of each consumer, applying specifically to their personality.
61
+
Visual Identity: The Gentlewoman
Fig. 25. Lea Seydoux for the Gentlewoman Fall Winter 2013: 2013
‘The Gentlewoman celebrates modern women of style and purpose. Its fabulous biannual magazine offers a fresh and intelligent perspective on fashion that’s focused on personal style’ [The Gentlewoman: 2014].
62
Presenting a clean, precise design, Gentlewoman magazine designed for the modern and stylish woman, has proven itself as one of the most popular independents collected as a keepsake item. Offering a fresh and intelligent perspective on fashion, Gentlewoman describes itself as a publication ‘featuring ambitious journalism and photography of the highest quality’ [Gentlewoman: 2014]; both content and design equally complement each other, reflecting the timeless content and visual creativity on offer.
Everyman aims to apply a similar clean and sleek visual identity, with high quality photography in order to appeal to the consumer wanting to purchase the magazine as a valuable, sentimental item. This unique design will be applied to each issue of the magazine for each consumer, showing consistency despite the varying personalised content that is included. Also reflected within the design will be the luxurious nature of its sponsorship brand Dunhill.
Fig. 26. The Gentlewoman Design Spreads: 2014 63
+
Content & Angle: Port ‘A publication founded on a rigorous desire to explore some of the most interesting and important aspects of our lives today, without ever losing that all important joie de vivre. Elegant and informed, PORT magazine is an independent haven where the love of pleasure and the love of unbiased knowledge go hand in hand’ [Port: 2014].
Fig. 27. Port Magazine: 2013
64
Well respected within the global independent magazine market, Port magazine invokes the spirit of the high end quarterly magazine ‘with the most current and engaging of subject matter...setting a new standard for modern titles’ [Port: 2014]. Founded upon societies desire to explore interesting topics of everyday life, it offers entertaining and engaging features from some of the world’s most popular practitioners’ in markets including business, design, film and fashion. In terms of subject matter and content, Port works from a similar angle as Everyman in the way that it offers a variety of diverse topics to read about. However, once again where the magazines will differ is Everyman’s ability to offer only the content each individual consumer wishes to specifically read about, as opposed to a set, mass produced quarterly magazine.
Although each of the three magazines mentioned are part of the independent market, none offer direct competition for Everyman, as they each offer varied content matter and visual design identities. The additional customisation on offer from Everyman ensures that there is no other magazine in the market currently competing with this element. The intelligent content and beautiful aesthetic on offer are additional benefits which are hoped to engage the reader and promote its sentimentality.
Fig. 28. Port Magazine Launch Issue: 2011
65
D
Design Development Following the process of examining what is currently on offer in the market and specific case studies of which are renowned for their strong visual identity, it is vital that Everyman is able to offer sufficient competition for these, whilst at the same time differentiating itself to become a unique and instantly recognisable publication. This process of design development involved logo design, choosing effective imagery and planning its overall visual identity.
66
Fig. 29. Port Design Development: 2014
The first stage of design development consisted of visual research into basic print magazine layouts. It was clear from the beginning that with the chosen consumer demographic being targeted, a high quality, stylised format was necessary to to catch their attention. A mood board was created, representing the style of photography to be used, as well as type and colour schemes. This method of visual research was used to aid the overall progression of the magazine, ensuring that although varying in content, design and style remained absolute.
67
Fig. 30. Photography & Type Research: 2014 70
71
Fig. 31. Everyman Rome Food: 2014
Fig. 32. There is Beauty Within their Food: 2014
72
P
HOTOGRAPHY
The photography used within the magazine has been taken and chosen to compliment the context in which the images will sit. In order to fit in with the concept of intelligent content it was important that the majority were larger scale, clean cut and high quality. Although for the creation of the initial magazine prototype, some images were borrowed from photographers, all images used within actual issues will be solely original.
73
L OGO
Another important design factor to consider was the creation of a logo that would be situated on the front cover of Everyman as an element that would be easily recognisable for consumers. This would ultimately act as the point of consistency through every individual issue.
74
EVERY | MAN
EVERY | MAN
RY N E EV | MA
EVERY MAN
EVERY MAN
E
EVERY | MAN EVERY | MAN
EVERY | MAN 75
BRAND SPONSORSHIP
76
As previously mentioned within the report, Dunhill have been identified as a suitable sponsorship for Everyman for a number of reasons. These, along with its benefits to both brand and magazine will now be closely examined.
77
Why Dunhill? Founded in 1863 by Alfred Dunhill, originally for the purpose of selling motor accessories, Dunhill has developed into a ‘quintessentially British luxury brand’ [Mr Porter: 2014], characterised by combined modern elegance and heritage. Representing themselves as a truly men’s brand, Dunhill not only provides exquisite clothing and accessories, but sells a lifestyle to the modern man. ‘Obsessed with detail, fanatical about quality and craftsmanship’, it is the underlying values and personality behind the brand that make it a perfect match for Everyman magazine.
nature’ [Park View Green: 2014] can be recognised as directly relatable and identifiable for the reader. The Dunhill world, situated on the brands website, is also a reflection of the modern male being targeted through its sense of personality and popular cultural activities; extending from travel and photography, to technology, film and design. Moving away from the post-fordism, one size fits all approach to men’s print magazines, Everyman will be characterized by these broader range of topics which are ‘carefully targeted at the needs or aspirations of distinct groups of people, or niche markets’ [Hodkinson: 2011]. This differentiation as a result of Dunhill’s sponsorship emphasises the magazines authentic and personal feel.
Establishing itself as a highly regarded, luxurious brand with a background in trend and lifestyle, Dunhill aligns its reputation of considered sponsorship with its core values of ‘masculinity, luxury, functionality and innovation’ [Park View Green: 2014]. This approach to the modern male is reflected within the values and strategy behind Everyman magazine, which also aims to target the evolving demographic of the 30-50 year old male consumer. Whereas previous traditional ‘lad mags’ never ‘really took the idea of manliness and what it meant to be a man seriously’ [Bret: 2012], with Dunhill’s brand essence inspiring the values behind the magazine, its sense of ‘spirited and pioneering
With a strong loyal following resulting from the brands well known quality service and additional cultural activities, it suggests that Dunhill is in a good position to sponsor a project that also promotes these values to the modern male. Combining their developed customer loyalty and existing sense of authenticity and know-how, Everyman will provide an extension to the brands already prosperous position.
78
Fig. 33 Alfred Dunhill 711 Fifth Avenue: 2014
79
D Benefits to Dunhill
‘The Dunhill shopping experience is designed to delight the male luxury goods consumer from start to finish. The retail stores are known as “Homes,” and allow the shopper to purchase clothing, luxury accessories and fine wines, followed by a haircut in the onsite barbershop, with a spa treatment to pass time while waiting for the next film to begin in the screening room.’. [Fragrantica: 2014].
80
Through its authentic and aesthetic approach, Everyman will sit in line with Dunhill’s focus on clean-cut quality and luxuriousness, highlighting the values of the brand through the magazines visual personality. However, the primary advantage of this sponsorship with Everyman will be the added depth of interest and communication not only with Dunhill’s primary consumers, but additional readers primarily valuing the magazines content. This will emphasise the personality of the brand, increasing awareness of the cultural activities they currently support, and highlighting this possibly aspect of the brand to a wider range of consumers. Brand magazine sponsorship as a method of communication is also often a lot cheaper than an ad campaign and can be ‘arguably just as effective’ [Cowles: 2012]. Consequently, it acts as an ideal method of increasing brand awareness through more than one traditional format.
Dunhill’s diverse nature, creating a stronger personality and lifestyle around the brand; ultimately engaging like-minded consumers to build a more intimate and meaningful relationship with them. Conclusively, this can result in stronger brand loyalty through the strengthening of their personality which the consumer can find immediately identifiable. Mentioned previously, ‘somehow, where niche magazines are concerned, the absence of a sizeable audience is mirrored by a fierce loyalty among those who make the purchase’ [Farber: 2012]. The loyal connection that currently exists between Dunhill’s consumers and their existing products, has the opportunity to be mirrored where Everyman is concerned, and a as a result, attract more consumers to the brand. A wider, more diversified distribution of Dunhill will also increase its awareness among new consumers who discover the brands products and values through a more authentic communication channel; in the context of Everyman, either via the print magazine or online. For the younger, modern generation of male consumers with more disposable income, who are shopping at more luxurious brands, it poses an ideal situation for increasing Dunhill’s brand awareness and showcasing their product attributes.
Though the focus of Dunhill currently lies within clothing and trend, ‘The Dunhill World’ operating on their website shows additional interest in further cultural activities such as technology and art. Everyman would build upon this extra aspect, targeting the modern male, by creating and developing a more focused and niche perspective through the magazines customisation format. The communication of these deeper values highlights
81
E
Benefits to Everyman ‘Sponsorship geared to driving sales can be an extremely potent promotional tool. This objective allows sponsors to showcase their product attributes’ [Friedman: 2014].
In addition to the collaborations benefits to Dunhill, the primary benefit this sponsorship offers to the Everyman is the instant access to a sizeable consumer group whose current purchasing behaviors suggest they are prepared to pay or quality and long term, beneficial products. Consumers with an existing trust in the brand will accordingly trust products immediately associated with it. In particular, with the previously mentioned growing trend of personalisation within the luxury retail sector, Everyman also reinforces the trust aspect as consumers benefit from more bespoke products made to their specific needs. ‘Personalised content is increasingly important for building brand relationships’ [Guardian: 2014]. Therefore, the magazines focus on customisation
82
furthers this trust and consumer relationship. for Dunhill Another benefit is the financial support and existing investment into extra cultural activities that Dunhill actively offers. A Mintel report from 2013 indicates that ‘32% of readers of interest-specific magazines subscribe to a print magazine’ [Mintel: 2013], whilst the ‘sports, leisure, hobbies and entertainment segment enjoyed an 11% increase in circulation in 2012’ [Mintel: 2013]. In a difficult market, where initially starting up poses various threats, this strengthens the magazines positioning creating a strong identity and sense of credibility. Within the context of the current men’s market, this gives a new publication some much needed validation.
EVERY | MAN A BESPOKE MAGAZINE FOR THE MODERN MALE
Fig. 34. Everyman Magazine Cover 2014
83
THE CONSUMER
84
Taking into consideration the market for indpendent magazines and Dunhill’s primary target demographic. three primary consumer groups have been identified based on a number of factors including interests, lifestyle and current magazine consumption. ‘The Professional Man’, ‘The Creative Man’ and The ‘Dapper Man’ all fit within the 30-50 year old consumer demographic. Ultimately, Everyman’s consumer cannot be easily categorised into perfect segments as they are a broad range of people with varying characteristics; however, these selected three provide a basic insight into the most likely consumers to purchase the magazine.
Initially, consumer interviews were conducted during primary research [see appendix 1] to ensure there was sufficient evidence to suggest a sizeable audience existed for Everyman, and more specifically, an interest in brand sponsored magazines. This also led to further investigation into the most favored reading topics among the target market.
MALE MANS MENS Fig. 35 The Consumer: 2014
MALES 67% of respondents that took part in the questionnaire answered
YES to reguarly purchasing/ or reading brand sponsored magazines.
85
THE PROFFESSIONAL MAN
A Day in the Life of + + + + + +
13 minutes reading per day 6 free ne wspapers read per week 1 monthly magazine subscription 9-10 hours work per day 1-2 hours travelling per day 2-3 hours spare time per day
Fig. 36. Terry Richardon Glasses: 2013
86
Fig. 37 The Professional Man: 2014 87
88
Fig. 38. The Creative Man: 2014
THE CREATIVE MAN
A Day in the Life of + + + + + +
50 minutes reading per day 3 free ne wspapers read per week 3 monthly magazine subscription 5-10 hours work per day 0.5-1 hours travelling per day 4-5 hours spare time per day Fig. 39. Terry Richardson Glasses Portrait: 2013 89
THE DAPPER MAN
A Day in the Life of + + + + + +
20 minutes reading per day 2 free ne wspapers read per week 4 monthly magazine subscription 6-9 hours work per day 1-2 hours travelling per day 2.5-3.5 hours spare time per day Fig. 40. Terry Richardson Glasses Copy: 2014 90
Fig. 41. The Dapper Man: 2014
91
COMMUNICATION STRATEGY
92
As previously stated; for the purpose of promotion and distribution, Everyman will function as an independent magazine rather than a mass produced brand publication. Following on from this, once a consumer base had been cemented, a relevant and effective communication strategy was devised. This strategy focused on four key elements of the marketing mix; product, place, price and promotion.
93
EVERYM AN
The and and the
correct positioning in terms of price, content distribution is vital to the success of Everyman effectively reaching the target consumer through most appropriate communication channel.
Via the digital counterpart; the initial primary access point consumers will experience Everyman through, each individuals personal edition will be available to order once they have subscribed to the content they wish to read about. The magazine will be available to order via this single distribution channel, although a link will also be available on Dunhill’s brand website. As well as this single channel proving practical for the authentic nature of the magazine, it also reinforces Everyman’s sense of exclusiveness and establishes the personal relationship with each consumer that is necessary for building an effective consumer-brand relationship. Prototype copies and information cards providing information about the magazine may also be available in a number of independent and mainstream retailers such as Waterstones and Magazine Shack situated in London, during the initial promotional stage, and continually after this if a sufficient amount of consumer interest if shown through this method.
94
Fig. 42. Everyman’s Positioning: 2014
Positioning
Despite initial concerns about losing the magazines authenticity with an online presence, it became clear that for Everyman’s unique communication strategy to work and for it to survive within the current market and reach a broad audience, a digital counterpart was vital for it’s success. This method of communication would also be vital for creating a conversation about the magazine and initially promoting its values and sense of personalisation. Its balance of conceptual and commercial appeal ensures the publication reaches a diverse range of people, whilst eliminating the prospect of alienating any possible consumers.
|
The magazine will be positioned at a price point of £10.99 to coincide with Dunhill’s higher price point and the personal value of content available. As Everyman is a quarterly magazine, the price also demonstrates the availability and occasional nature of which it is issued. This price includes the tangible magazine, any free gifts and extras provided based on the consumers choice of content, as well as the understated, sleek packaging in which the magazine will be delivered. This price was chosen to also reflect the collectable, keepsake value of the magazine. As each individual publication is uniquely crafted as opposed to mass manufactured, it warrants for a higher price point to allow for this personal aspect.
E V E R M A Y N
I S S U E 0 1
Fig. 43. Everyman Issue Packaging: 2014 95
Fig. 44. Alcazar Leather Chair: 2014
EVERY | MAN About
Design
Art & Photography Trend
Travel
Film
Music
More
Magazines & Subscriptions
96
Fig. 45. Everyman’s Online Presence: 2014
WELCOME TO THE HOME OF THE FIRST BESPOKE MAGAZINE FOR THE MODERN MALE
D
The Digital Counterpart Bearing in mind Everyman’s authentic and personal feel, and as previously mentioned, the majority of content and information will be provided within a tactile print format. However, to counterbalance the relationship between online and offline and to remain relevant in the digital age, successfully utilising the Internets opportunity for growth and awareness, the initial subscription service will be available solely via the digital counterpart. ‘The Internet drives magazine subscriptions’ [Burrell: 2014], particularly for the older audience who often ‘consider buying a magazine subscription to save money’ [Mintel: 2013]. Therefore, for Everyman’s 30-50 year old market, it is fitting that this is available online; creating an equilibrium between print and digital.
The choice of topics to read about will also be available via the website for consumers to choose from when creating their individual magazine. Additionally, Everyman.com will link with www.dunhill. co.uk, emphasising the sponsorship between brand and magazine and providing consumers a direct link to explore the brand behind the publication. Suggestions for further topics will be optional via the website. The digital counterpart will be immediately interactive and available, in order to promote the service and begin initial issues. The development of an app may also be available in the future if demand shows that this is necessary.
97
Promotion
Two precise methods will be used to promote the launch of Everyman magazine, focusing on creating brand awareness and highlighting the cultural activities sponsorship brand Dunhill is involved in, and how these will be reflected within Everyman. This will be achieved through reaching out to appropriate target consumer demographics rather than using a mass, mainstream strategy and creating a ‘buzz’ through videos and product specific advertisements.
Due to the sentimental and authentic nature of the magazine, another offline communication channel has been identified which will provide the basis for a second promotional strategy; ultimately driving consumer desire and further subscriptions to the magazine. Primary consumer research has highlighted the target consumer’s desire for escapism which resulted in a list of places they visit daily and would love most to ‘escape’ from. These included public transport such as buses, trains and tube stations. Promotional imagery will be placed within such locations, providing a suitable approach to promotion which consumers will naturally come across. This method will also provide potential for Everyman’s secondary consumers who will also be frequently coming across this promotional material, as the ‘Everyman’ makes his daily jounrey to work. Due to the magazines customisable nature, publications will not be available to purchase within magazine stores; both mainstream or independent.
The first strategy will be the creation of an event within Dunhill’s flagship store in London, Mayfair. In order to initially get Everyman running, the store will be introducing it by providing promotional cards and prototype copies, demonstrating the look and feel behind the publication. The event will provide a low-key, relaxed feel despite the more luxurious nature of the surrounding store. The reasoning for this is that the event will ultimately attempt to communicate the sense of escapism Everyman claims to offer. These events will also encompass the ‘homely’ feel Dunhill strives to provide, and an optional one to one sign up subscription service for those consumers wishing to sign up immediately.
A mission statement has been created for the purpose of the magazines initial release, stating the reasoning behind the launch and association with Dunhill. This will be available via both the magazines digital counterpart and www.dunhill.co.uk.
Fig. 46. Everyman Store Promotional Event: 2014 98
EVERY| MAN
Fig. 47. Everyman Promotional Subscription Sign Up: 2014
99
Mission Statement In this era of post-fordism, and alongside our democratised society, Everyman believes in celebrating the uniqueness of individuals and offering an escape to the demands of modern day life, through the exploration of personalised content and a focus of the finer details. In a world of mass produced goods, our exclusive bespoke publications, based on your personal reading habits provide an essential retreat via a more meaningful, catered measure. Specifically designed for you, Everyman will take you on a journey through some of your most desired interests. Our collaboration with Dunhill not only provides the basis for the focus of cultural activities, but adds to the sense of exclusivity we hope is felt during the process of choosing content and reading content. It is at the heart of Everyman’s values, that each consumer receives the level of value they deserve.
100
Fig. 48. Everyman Magazine: 2014 101
THE FUTURE
102
As the main aim for this project is to create a successful independent magazine which will grow in popularity, Everyman must have the ability to survive with longevity by maintaining its consumer’s engagement and consistently encouraging a wealth of new subscribers. The way in which the consumer can choose topics they wish to read about and create individual issues, not only offers a refreshing take on user generated content, but ensures Everyman maintains fresh and compelling in a gloomy market. The digital counterpart available online and through a possible app also demonstrates Everyman’s passion to create an authentic product whilst remaining relevant in a more digital market. The longevity of Everyman will also heavily rely on other aspects of this changing market and what consumers want from this.
103
As mentioned previously, interactivity will play a key role within consumer engagement as ‘magazines have to figure out how to embrace and integrate their print products with digital’ [Oates: 2011]. The interactive method of creating a personal issue online and receiving the tangible magazine in the post along with unexpected giveaways, are two key aspects of Everyman that will consistently adapt and change, in the hope that readers will continue to subscribe issue after issue. Lastly, it is important that despite the variation in magazine content, Everyman maintains constant in its visual identity for the reason of offering the consumer an escape through a recognisable means. This continuity will be represented through cover, style, and intelligent content, provided with each issue for each consumer.
Fig. 49. Landscape: 2014
104
Everyman occupies vast opportunities in the form of collaborations, as one of its main focuses is authentic material and original imagery. The range of content on offer provides scope for an array of artists work to be published, ensuring each issue maintains its sense of inclusivity, not only for consumers, but contributors. Ultimately, Everyman will be offering a hybrid of different avenues for consumers with varied content choices for every issue, whilst the interactive aspect and context remain absolute.
105
CONCLUSION
106
Everyman is a unique take on the modern independent magazine, offering a keepsake appeal through its level of personalisation and authenticity, as a backlash to the fading, irrelevant content of the traditional ‘lad mag’. Published in association with trend and lifestyle brand Dunhill, a focus has been placed on benefitting both brand and magazine, whilst meeting the desires of the evolving 30-50 year old male demographic. Combining intelligent content with a beautifully designed aesthetic, Everyman responds to the desires of the modern male by offering a diverse range of content demands and
through its primary focus on providing each consumer with a bespoke good. Within a society of shifting cultural trends and a market where men on average are reading only ’23 minutes per day’ [Mintel: 2010], Everyman offers a sense of escapism, bringing the consumer back to print with a more meaningful publication that offers the chance to escape the stresses of modern life, and the consistent flow of digitalised information. Ultimately, Everyman is reaching new heights with the macro trend of personalisation, extending it further into new markets, and proving that everyone can posses something unique.
107
REFERENCES
108
Anon, 2014. The Slow Movement [online]. Available at: http://www.create-the-good-life.com/slow_movement.html [Accessed 14th April 2014]. Bainbridge, J, 2013. Getting personal: how much further can the trend go? [online] Marketing Magazine. Available at: http://www.marketingmagazine. co.uk/article/1214152/getting-personal-further-trend-go [Accessed 16th March 2014]. Bret, 2012. The Four Archetypes of the Mature Masculine [online]. Art of Manliness. Available at: https://docs.google.com/document/d/19kW2UUZPsY9K0HSyDskreGJ8nN-0GgjAMtq_aCF3peo/edit?hl=en_US&pli=1#heading=h.nqg2drbg9ae7 [Accessed 23 February 2014]. Brooks, K and Jackson, 2009. Making sense of men’s lifestyle magazines. Environment and planning D: Society and Space (17), 353-368. Buckland, M, 2014. . Print actually trumps digital in the attention economy: here’s how [online]. Meme Burn. Available at: http://memeburn. com/2014/01/print-actually-trumps-digital-in-the-attention-economy-heres-how/ [Accessed 25 February 2014]. Burrell, I, 2014. Looks good on paper: Forget tablet editions- a new wave of young independent publishers is producing wonderful hard-copy titles [online]. The Independent. Available at: http://www.independent.co.uk/news/media/press/looks-good-on-paper-forget-tablet-editions--a-new-wave-ofyoung-independent-publishers-is-producing-wonderful-hardcopy-titles-9139520.html [Accessed 1st April 2014]. Cowles, C, 2012. Fashion Brands Would Rather Make Their Own Magazines Than Buy Ads [online]. Available at: http://nymag.com/thecut/2012/02/ advertising-make-a-magazine-fashion-brands.html [Accessed 14th April 2014]. Crowe, D, 2013. Port Magazine Issue 10: A New Golden Age [online]. Port Magazine. Available at: http://www.port-magazine.com/design/port-magazine-issue-10-a-new-golden-age/ [Accessed 21st March 2014]. Farber, T and Daniel, 2012. Niche magazines: giving readers a sense of ownership [online]. The Media Online. Available at: http://themediaonline. co.za/2012/07/niche-magazines-giving-readers-a-sense-of-ownership/ [Accessed 16th March 2014]. Fragnatica, 2014. Alfred Dunhill perfumes and colognes [online]. Fragnatica. Available at: http://www.fragrantica.com/designers/Alfred-Dunhill.html [Accessed 21st April 2014]. Friedman, S, 2014. Sponsorship: A Key to Personal Marketing [online]. About Marketing. Available at: http://marketing.about.com/od/eventandseminarmarketing/a/sponsorship.htm [Accessed 31st March 2014]. Guardian, 2014. 32 tips to boost brand loyalty and drive conversion [online]. Available at: http://www.theguardian.com/media-network/adobe-partner-zone/interactive/tips-boost-brand-loyalty-conversion [Accessed 5th April 2014]. Hodkinson, P, 2011. Media, Culture and Society an Introduction. 1st Ed. London: SAGE Publications Hooper, M, 2012. Who says print is dead? [online]. The Guardian. Available at: http://www.theguardian.com/media/2012/jun/03/who-says-print-isdead [Accessed 16th March 2014]. King, K, 2012. No Naff: Max Pearmain on Timberland [online]. The Bootmakers Blog. Available at: http://blog.timberland.com/category/beyond-the-bootmakers-guest-bloggers/ [Accessed 21st April 2014]. Leslie, J, 2013. The Modern Magazine. Visual Journalism in the Digital Era. 1st Ed. London: Laurence King Publishing Magpile, 2013. RoadBook [online]. Magpile. Available at: http://magpile.com/roadbook/about/ [Accessed 16th March 2014]. Marsden, R, 2012. Why are Men’s Magazines Being Left on the Shelf [online]. The Independent. Available at: http://www.independent.co.uk/news/ media/press/why-are-mens-magazines-being-left-on-the-shelf-2142714.html [Accessed 20th March 2014]. Masurier, M, 2011. The Pleasure of the Indie Magazine. Paper Politics. 1 (1) 386-394. McLoughlin, L, 2000. The Language of Magazines Intertext. MrEatons [online]. 1 (1) Available via: http://mreatons.weebly.com/uploads/1/7/4/1/17417209/magazine_language_copy.pdf [Accessed 10th April 2014]. Mintel, 2010. Men’s Magazines-UK [online]. Mintel. Available at: http://store.mintel.com/mens-magazines-uk-february-2010?cookie_test=true [Accessed 19th Match 2014].
109
Mintel, 2012. Men’s magazines paying the price when consumers won’t. Mintel [online]. Available at: http://academic.mintel.com/display/508700/?highlight [Accessed 23rd March 2014]. Mintel, 2013. Print Magazine Behaviour. Mintel [online]. Available at: http://academic.mintel.com/display/669721/?highlight#hit1 [Accessed 23rd March 2014]. Morton, R, 2012. FHM mag will close, last edition in may [online]. Mamamia. Available at: http://www.mamamia.com.au/news/mens-magazines-struggling-to-survive-is-this-the-end-of-boob-jokes/ [Accessed 25 February 2014]. Moser, H, 2011. The Art Directors’ Handbook of Professional Magazine Design. 3rd Ed. United Kingdom: Thames & Hudson Ltd Mr Porter, 2014. Alfred Dunhill [online]. Available at: http://www.mrporter.com/Shop/Designers/Alfred_Dunhill [Accessed 4th April 2014]. O’Reilly, J, 2014. The beautiful magazines setting out to prove print isn’t dead [online]. The Guardian. Available at: http://www.theguardian.com/media/2014/feb/16/beautiful-magazines-prove-print-isnt-dead [Accessed 25 February 2014]. Park View Green, 2014. Alfred Dunhill [online]. Park View Green. Available at: http://www.parkviewgreen.com/eng/shop/fashion/alfred-dunhill/ [Accessed 4th April 2014]. Pavlou, A, 2010. What is Branded Content and are brands taking advantage of this area of sponsorship? [online]. The UK Sports Network. Available at: http://www.theuksportsnetwork.com/what-is-branded-content-and-are-brands-taking-advantage-of-this-area-of-sponsorship [Accessed 31st March 2014]. Pheiffer, A, 2012. Editing as a Brand Investment [online]. NY Times. Available at: http://www.nytimes.com/2012/02/22/fashion/22iht-rbrand22.html?_ r=0 [Accessed 14th April 2014]. Port, 2014. Port Magazine [online]. Available at: http://www.port-magazine.com/about/ [Accessed 10th May 2014]. PPA, 2014. Why Magazines? The Reader Relationship [online]. PPA. Available at: http://magazines.bauermediaadvertising.com/why_magazines [Accessed 14th April 2014]. Price, A, 2013. The retail trends for 2014: It’s all about personalisation [online]. MyCustomer. Available at: http://www.mycustomer.com/news/retail-tr ends-2014-it%E2%80%99s-all-about-personalisation [Accessed 31st March 2014]. PWC, 2014. Consumer Magazine Publishing [online]. PWC. Available at: http://www.pwc.com/gx/en/global-entertainment-media-outlook/segment-insights/consumer-magazine-publishing.jhtml [Accessed 1st April 2014]. Rowlands, B, 2013. The fall and rise of magazines from print to digital [online]. The Guardian. Available at: http://www.theguardian.com/media-network/media-network-blog/2013/mar/07/fall-rise-magazines-print-digital [Accessed 19th March 2014]. Singh, D, 2012. Magazines ABC’s: FHM Tumbles another 9.5% in “extremely challenging” market [online]. Media Week. Available at: http://www.mediaweek.co.uk/article/1117600/magazine-abcs-fhm-tumbles-95-extremely-challenging-market [Accessed 1st May 2014]. Tesseras, L, 2013. The marketing trends for 2014 part one [online]. Marketing Week. Available at: http://www.marketingweek.co.uk/trends/latest-trends/the-marketing-trends-for-2014-part-one/4008889.article [Accessed 31st March 2014]. The Gentlewoman, 2014. About [online]. The Gentlewoman. Available at: http://thegentlewoman.co.uk/#/about [Accessed 10th May 2014]. Thielman, S, 2013. The Millennial Male is Not Who You Think he is. Marketers Should Take Not [online]. Ad Week. Available at: http://www.adweek. com/news/advertising-branding/millennial-male-not-who-you-think-he-152929 [Accessed 10th May 2014]. Voinea, L and Filip, 2011. Analyzing the Main Changes in New Consumer Buying Behaviour during Economic Crisis [online]. (1), 14-19. Available at: file:///C:/Users/Hannah/Downloads/3-32-1-PB.pdf [Accessed 30th March 2014].
110
111
ILLUSTRATIONS
112
Fig. 1. Own Image, 2014. Everyman Magazine. Fig. 2. WGSN. 2015. Suit Tailoring [digital image]. WSGN. Available at: http://www.wgsn.com/content/report/Catwalk_Shows/Key_Items/SS14/Mens/ s_s_14_men_s_catwalkskeyitemanalysis/Tailoring.html [Accessed 30th April 2014]. Fig. 3. Stylo Design, 2014. Still Inspiration [digital image]. Pinterest. Available at: http://www.pinterest.com/pin/432416001693038485/ [Accessed 30th April 214]. Fig. 4. Kinfolk, 2013. Flower Cream [digital image]. Pinterest. Available at: http://www.pinterest.com/pin/563301865864818961/ [Accessed 29th April 2014]. Fig. 5. Anon, 2014. Driftwood [digital image]. Wood Note Photography. Available at: http://www.woodnotephotography.net/ [Accessed 29th April 2014]. Fig. 6. Dunhill, 2014. Made to Measure [digital image]. His Style Diary. Available at: Available at: http://www.hisstylediary.com/2012/03/15/understanding-different-style-and-construction-of-the-suit/ [Accessed 21st April 2014]. Fig. 7. Anon, 2014. Tailoring [digital image]. Pinterest. Available at: http://www.pinterest.com/pin/319826011009479679/ [Accessed 11th May 2014]. Fig. 8. Cos, 2013. Cos Magazine Design [digital image]. Jenny Eneqvist Studios. Available at: http://www.jennyeneqvist.com/sites/default/files/styles/ slideshow/public/images/COS_C_1.jpg [Accessed 30th April 2014]. Fig. 9. Acne Paper, 2011. Acne Paper 12: The Youth Issue. Teak and Hemlock. Available at: http://teakandhemlock.blogspot.co.uk/2011/07/acne-paper-12youth-issue.html [Accessed 30th April 2014]. Fig. 10. Own Image, 2014. Initial Market Analysis. Fig. 11. Anon. 2014. Display Design [digital image]. Pinterest. Available at: http://www.pinterest.com/pin/446700856761065771/ [Accessed 19th April 2014]. Fig. 12. Own Image, 2014. Decline of the Lad Mag. Fig. 13. Anon. 2012. This is not an addiction to creative magazine covers that you want to lick [digital image]. Cover Junkie. Available at: http://www. mechanicexercises.com/?cat=26 [Accessed 17th April 2014]. Fig. 14. Own Image, 2014. Independent Magazine Market. Fig. 15. Wool, J, 2014. Colour Portrait [digital image]. Josh Wool. Available at: http://www.joshwool.com/color [Accessed 30th April 2014]. Fig. 16. Own, Image 2014. Everyman Trend Spreads. Fig. 17. Own Image, 2014. Everyman Food Spreads. Fig. 18. Own Image, 2014. Everyman Photography Spreads. Fig. 19. Own Image, 2014. Everyman Photography Paul Dukovic. Fig. 20. Own Image, 2014. Everyman Photography Paul Dukovic 2. Fig. 21. Own Image. 2014. Everyman Magazine Giveaways. Fig. 22. Own Image, 2014. Consumer Analysis. Fig. 23. Roadbook, 2014. New Work: Roadbook Issue 2 [digital image]. Pentagram. Available at: http://new.pentagram.com/2013/05/new-work-roadbook-issue-2/ [Accessed 29th April 2014]. Fig. 24. Roadbook, 2014. Roadbook 2nd Edition [digital image]. Pentagram. Available at: http://new.pentagram.com/2013/05/new-work-road-book-issue-2/ [Accessed 29th April 2014]. Fig. 25. The Gentlewoman, 2013. Lea Seydoux for the Gentlewoman Fall Winter 2013 [digital image]. Sidewalk Hustle. Available at: http://sidewalkhustle.com/tag/lea-seydoux/ [Accessed 30th April 2014]. Fig. 26. Own Image, 2014. The Gentlewoman Design Spreads. 113
Fig. 27. Port, 2013. Port Magazine [digital image]. Soap Chat. Available at: http://soapchat.net/index.php?threads/watching-the-truth-and-trusting-noone-x-files.96993/page-2 [Accessed 11th May 2014]. Fig. 28. Port, 2011. Port Magazine Launch Issue [digital image]. Men’s Reverie. Available at: http://www.mensreverie.com/category/cool-stuff/magazines/page/3/ [Accessed 29th April 2014]. Fig. 29. Own Image, 2014. Design Development. Fig. 30. Own Image, 2014. Photography and Type Research. Fig. 31. Own Image, 2014. Everyman Rome Food. Fig. 32. Own Image, 2014. There is Beauty Within their Food. Fig. 33. Cross, H, 2014. Alfred Dunhill 711 Fifth Avenue [digital image]. NY City Travel. Available at: http://gonyc.about.com/od/shopping/ig/Fifth-Avenue-Shopping-Tour/Alfred-Dunhill.htm [Accessed 11th May 2014]. Fig. 34. Own Image, 2014. Everyman Magazine Cover. Fig. 35. Own Image, 2014. The Consumer. Fig. 36. Anon, 2013. Terry Richardson Glasses [digital image]. Pinterest. Available at: http://www.pinterest.com/pin/268949408969646852/ [Accessed 7th May 2014]. Fig. 37. Own Image, 2014. The Professional Man. Fig. 38. Own Image, 2014. The Creative Man. Fig. 39. Anon, 2013. Terry Richardson Glasses Portrait [digital image]. Pinterest. Available at: http://www.pinterest.com/pin/268949408969646852/ [Accessed 7th May 2014]. Fig. 40. Anon, 2013. Terry Richardson Glasses Copy [digital image]. The Berry. Available at: http://shechive.files.wordpress.com/2012/04/terry-richardson-25.jpg [Accessed 7th May 2014]. Fig. 41. Own Image, 2014. The Dapper Man. Fig. 42. Own Image, 2014. Everyman’s Positioning. Fig. 43. Own Image, 2014. Everyman Issue Packaging. Fig. 44. Redford, R, 2014. Alcazar Leather Armchair [digital image]. Pinterest. Available at: http://www.pinterest.com/pin/42643527693106380/ [Accessed 10th May 2014]. Fig. 45. Own Image, 2014. Everyman’s Online Presence. Fig. 46. Own Image, 2014. Everyman Store Promotional Event. Fig. 47. Own Image, 2014. Everyman Promotional Subscription Sign Up. Fig. 48. Own Image, 2014. Everyman Magazine. Fig. 49. Hakanson, N, 2014. Landscape [digital image]. Nirrimi Hakanson Portfolio. Available at: http://www.nirrimi.com/work [Accessed 28th April 2014].
114
115
BIBLIOGRAPHY
116
BOOKS Bruce, M and Hines., 2001. Fashion Marketing: Contemporary Issues. Great Britain: MPG Books Edwards, T., 1997. Men in the Mirror. Men’s Fashion, Masculinity and Consumer Society. Great Britain: Biddles Ltd Hodkinson, P., 2011. Media, Culture and Society an introduction. London: SAGE Publications Leslie, J, 2013. The Modern Magazine, Visual Journalism in the Digital Era. London: Laurence King Publishing McLoughlin, L., 2000. The Language of Magazines. Great Britain: TJ International Ltd McNeil, P and Karaminas., 2009. The Men’s Fashion Reader. New York: Berg Moser, H, 2007. The Art Directors’ Handbook of Professional Magazine Design. United Kingdom: Thames & Hudson Ltd Pellegrin, B, 2009. Branding the Man: Why Men Are The Next Frontier In Fashion Retail [eBook]. 1st ed. Allworth Press. Available via: Google Books. [Accessed 18th March 2014].
117
WEBSITES Anon, 2014. The Slow Movement [online]. Available at: http://www.create-the-good-life.com/slow_movement.html [Accessed 14th April 2014]. Anon, 2014. Dunhill English Heritage [online]. Headmint. Available at: http://www.headmintinternational.com/en-GB/our_work/14.aspx [Accessed 4th April 2014]. Anon, 2014. Dunhill Logo [online]. Logonoid. Available at: http://logonoid.com/dunhill-logo/ [Accessed 21st April 2014]. Anon, 2014. Port Magazine [online]. Soapchat. Available at: http://soapchat.net/index.php?threads/watching-the-truth-and-trusting-no-one-xfiles.96993/page-2 [Accessed 21st April 2014]. Anon, 2013. Digital Magazine Readership has risen in 2013 [online]. Media-News. Available at: http://media-news.fournewsletter.com/category/magazine-statistics/ [Accessed 22 February 2014]. Anon, 2013. Just who are men’s magazines aimed at? [online] Soviet. Available at: http://jamesallan.net/?p=171 [Accessed 25 February 2014]. Anon, 2013. Focus Still on Men’s Care as a Growth Category for Beauty [online]. GCI Magazine. Available at: http://www.gcimagazine.com/marketstrends/segments/skincare/Focus-Still-on-Mens-Care-as-a-Growth-Category-for-Beauty-223160091.html [Accessed 10th March 2014]. Anon, 2013. Port iPad apps [online]. Magculture. Available at: http://magculture.com/projects/view/port-ipad/ [Accessed 21st March 2014]. Anon, 2013. A Magazine for Fantastic Man [online]. Ladylike Blog. Available at: http://ladylikeblog.com/2013/02/12/a-magazine-for-fantastic-men/ [Accessed 21st April 2014]. Anon, 2011. Brands’ own magazines to render ‘old’ fashion media obsolete? [online]. The Independent. Available at: http://www.independent.co.uk/ life-style/fashion/brands-own-magazines-to-render-old-fashion-media-obsolete-2243829.html [Accessed 14th April 2014]. Anon, 2011. Webinar: Reinventing the magazine for the Digital Era [online]. Aiga. Available at: http://www.aiga.org/webinar-reinventing-the-magazine-experience/ [Accessed 16th March 2014]. Bainbridge, J, 2013. Getting personal: how much further can the trend go? [online] Marketing Magazine. Available at: http://www.marketingmagazine. co.uk/article/1214152/getting-personal-further-trend-go [Accessed 16th March 2014]. Banham, M, 2012. MAGAZINE ABCs: FHM tumbles another 9.5% in “extremely challenging” market [online]. Media Week. Available at: http://www. mediaweek.co.uk/article/1117600/magazine-abcs-fhm-tumbles-95-extremely-challenging-market [Accessed 25 February 2014]. Belyus, K, 2013. In the Battle of the Sexes, Men’s Magazines Win [For This Female Reader] [online]. Folio Mag. Available at: http://www.foliomag. com/2013/battle-sexes-men-s-magazines-win-female-reader#.UwjOgPl_uSp [Accessed 22 February 2014]. Bret, 2012. The Four Archetypes of the Mature Masculine [online]. Art of Manliness. Available at: https://docs.google.com/document/d/19kW2UUZPsY9K0HSyDskreGJ8nN-0GgjAMtq_aCF3peo/edit?hl=en_US&pli=1#heading=h.nqg2drbg9ae7 [Accessed 23 February 2014]. Buckland, M, 2014. Print actually trumps digital in the attention economy: here’s how [online]. Memeburn. Available at: http://memeburn. com/2014/01/print-actually-trumps-digital-in-the-attention-economy-heres-how/ [Accessed 25 February 2014]. Burrell, I, 2014. Looks good on paper: Forget tablet editions- a new wave of young independent publishers is producing wonderful hard-copy titles [online]. The Independent. Available at: http://www.independent.co.uk/news/media/press/looks-good-on-paper-forget-tablet-editions--a-new-wave-ofyoung-independent-publishers-is-producing-wonderful-hardcopy-titles-9139520.html [Accessed 1st April 2014]. Chaudhuri, A, 2008. Testosterone shot for niche magazine segment. DNA India [online]. Available at: http://www.dnaindia.com/money/report-testosterone-shot-for-niche-magazine-segment-1159647 [Accessed 23 February 2014]. Chayasatit, A, 2014. Magazine in the Post-Digital Era- What will be Printed? People of Print [online]. Available at: http://www.peopleofprint.com/interviews/magazine-in-the-post-digital-era-what-will-be-printed-interview-series/ [Accessed 16th March 2014]. Conforti, G, 2012. Dunhill [online]. Fashion Collective. Available at: http://fashionscollective.com/FashionAndLuxury/04/dunhill/ [Accessed 21st April 2014]. Cook, J, 2013. STACK Magazine Subscription Service: an interview with founder Steve Watson [online]. Amelia’s Magazine. Available at: http://www. ameliasmagazine.com/art/stack-magazine-subscription-service-an-interview-with-founder-steve-watson/2013/03/07/ [Accessed 1st April 2014]. Cowles, C, 2012. Fashion Brands Would Rather Make Their Own Magazines Than Buy Ads [online]. Available at: http://nymag.com/thecut/2012/02/ advertising-make-a-magazine-fashion-brands.html [Accessed 14th April 2014]. 118
Cross, H, 2014. Alfred Dunhill [online]. New York City Travel. Available at: http://gonyc.about.com/od/shopping/ig/Fifth-Avenue-Shopping-Tour/Alfred-Dunhill.htm [Accessed 21st April 2014]. Crowe, D, 2013. Port Magazine Issue 10: A New Golden Age [online]. Port Magazine. Available at: http://www.port-magazine.com/design/port-magazine-issue-10-a-new-golden-age/ [Accessed 21st March 2014]. Diamond, J, 2013. The Rise of the Artisanal Magazine [online]. Flavorwire. Available at: http://flavorwire.com/371279/the-rise-of-the-artisanal-magazine/ [Accessed 21st March 2014]. Farber, T and Daniel, 2012. Niche magazines: giving readers a sense of ownership [online]. The Media Online. Available at: http://themediaonline. co.za/2012/07/niche-magazines-giving-readers-a-sense-of-ownership/ [Accessed 16th March 2014]. Fragnatica, 2014. Alfred Dunhill perfumes and colognes [online]. Fragnatica. Available at: http://www.fragrantica.com/designers/Alfred-Dunhill.html [Accessed 21st April 2014]. Friedman, S, 2014. Sponsorship: A Key to Personal Marketing [online]. About Marketing. Available at: http://marketing.about.com/od/eventandseminarmarketing/a/sponsorship.htm [Accessed 31st March 2014]. Geer, A, 2013. 10 Up and Coming Photographers to Looks out for in 2013 [online]. Photodoto. Available at: http://photodoto.com/10-up-and-comingyoung-photographers-to-watch-out-for-in-2013/ [Accessed 29th April 2014]. Guardian, 2014. 32 tips to boost brand loyalty and drive conversion [online]. Available at: http://www.theguardian.com/media-network/adobe-partner-zone/interactive/tips-boost-brand-loyalty-conversion [Accessed 5th April 2014]. Hooper, M, 2012. Who says print is dead? [online]. The Guardian. Available at: http://www.theguardian.com/media/2012/jun/03/who-says-print-isdead [Accessed 16th March 2014]. Hooton, S, 2013. The rise of personalisation: retail marketing trends for 2014 [online]. GMA. Available at: http://the-gma.com/archives/the-rise-of-personalisation-retail-marketing-trends-for-2014 [Accessed 16th March 2014]. Hsieh, I, 2012. Smith Journal. Protein Beta [online]. Available at: https://www.prote.in/en/feed/2011/09/smith-journal [Accessed 25 February 2014]. Jones, D, 2009. A manifesto for men’s magazines [online]. Financial Times. Available at: http://www.ft.com/cms/s/0/83644306-35dc-11de-a99700144feabdc0.html#axzz2wPYG7rq7 [Accessed 19th March 2014]. King, K, 2012. No Naff: Max Pearmain on Timberland [online]. The Bootmakers Blog. Available at: http://blog.timberland.com/category/beyond-the-bootmakers-guest-bloggers/ [Accessed 21st April 2014]. Leslie, J, 2013. The Modern Magazine: Visual Journalism in the Digital Era [online]. Available at: http://www.laurenceking.com/en/the-modern-magazine-visual-journalism-in-the-digital-era/ [Accessed 16th March 2014]. Macleod, I, 2013. RoadBook revs up to second edition with pentagram [online]. The Drum. Available at: http://www.thedrum.com/news/2013/05/27/ roadbook-revs-second-edition-pentagram [Accessed 16th March 2014]. Magculture, 2013. The Modern Magazine, spotted. Magculture [online blog]. Available at: http://magculture.com/blog/?page_id=19235 [Accessed 16th March 2014]. Magpile, 2013. RoadBook [online]. Magpile. Available at: http://magpile.com/roadbook/about/ [Accessed 16th March 2014]. Marsden, R, 2012. Why are men’s magazines being left on the shelf? [online]. The Independant. Available at: http://www.independent.co.uk/news/ media/press/why-are-mens-magazines-being-left-on-the-shelf-2142714.html [Accessed 20th March 2014]. McKay, M & Bratt, 2009. The Best and Worst Magazines for Men [online]. Art of Manliness. Available at: http://www.artofmanliness.com/2009/01/06/ best-mens-magazines/ [Accessed 22 February 2014]. Morton, R, 2012. FHM mag will close, last edition in may [online]. Mamamia. Available at: http://www.mamamia.com.au/news/mens-magazines-struggling-to-survive-is-this-the-end-of-boob-jokes/ [Accessed 25 February 2014]. Mr Porter, 2014. Alfred Dunhill [online]. Available at: http://www.mrporter.com/Shop/Designers/Alfred_Dunhill [Accessed 4th April 2014]. O’Reilly, J, 2014. The beautiful magazines setting out to prove print isn’t dead [online]. The Guardian. Available at: http://www.theguardian.com/media/2014/feb/16/beautiful-magazines-prove-print-isnt-dead [Accessed 25 February 2014].
119
Park View Green, 2014. Alfred Dunhill [online]. Park View Green. Available at: http://www.parkviewgreen.com/eng/shop/fashion/alfred-dunhill/ [Accessed 4th April 2014]. Pavlou, A, 2010. What is Branded Content and are brands taking advantage of this area of sponsorship? [online]. The UK Sports Network. Available at: http://www.theuksportsnetwork.com/what-is-branded-content-and-are-brands-taking-advantage-of-this-area-of-sponsorship [Accessed 31st March 2014]. Pheiffer, A, 2012. Editing as a Brand Investment [online]. NY Times. Available at: http://www.nytimes.com/2012/02/22/fashion/22iht-rbrand22.html?_ r=0 [Accessed 14th April 2014]. Port, 2014. Port Magazine [online]. Available at: http://www.port-magazine.com/about/ [Accessed 10th May 2014]. PPA, 2014. Why Magazines? The Reader Relationship [online]. PPA. Available at: http://magazines.bauermediaadvertising.com/why_magazines [Accessed 14th April 2014]. Price, A, 2013. The retail trends for 2014: It’s all about personalisation [online]. MyCustomer. Available at: http://www.mycustomer.com/news/retail-tr ends-2014-it%E2%80%99s-all-about-personalisation [Accessed 31st March 2014]. PWC, 2014. Consumer Magazine Publishing [online]. PWC. Available at: http://www.pwc.com/gx/en/global-entertainment-media-outlook/segment-insights/consumer-magazine-publishing.jhtml [Accessed 1st April 2014]. Reynolds, J, 2013. Men’s upmarket lifestyle magazines are leading the digital market [online]. The Guardian. Available at: http://www.theguardian. com/media/2013/aug/15/mens-magazines-digital-market-gq-economist-esquire [Accessed 22 February 2014]. Ridley, L, 2013. Magazine ABCs: Men’s monthlies ‘hang on’ while Nuts and Zoo plunge [online]. Brand Republic. Available at: http://www.brandrepublic. com/news/1207575/magazine-abcs-mens-monthlies-hang-on-nuts-zoo-plunge/ [Accessed 25 February 2014]. Ridley, L, 2014. Magazine ABCs: Men’s Health tops combined men’s chart [online]. Brand Republic. Available at: http://www.brandrepublic.com/ news/1280991/magazine-abcs-mens-health-tops-combined-mens-chart/ [Accessed 25 February 2014]. Roadbook, 2014. New Work: ‘Roadbook’ Issue 2 [online]. Pentagram. Available at: http://new.pentagram.com/2013/05/new-work-road-book-issue-2/ [Accessed 21st April 2014]. Rowland, S, 2010. MAGAZINE ABC’s: Consumer Magazines’ most innovative marketing strategies [online]. Media Week. Available at: http://www. mediaweek.co.uk/article/1021780/magazine-abcs-consumer-magazines-innovative-marketing-strategies [Accessed 6th May 2014]. Rowlands, B, 2013. The fall and rise of magazines from print to digital [online]. The Guardian. Available at: http://www.theguardian.com/media-network/media-network-blog/2013/mar/07/fall-rise-magazines-print-digital [Accessed 19th March 2014]. Sebastian, M, 2013. Five Reasons Men’s Magazines Had a Very Good 2013 [online]. Ad Age. Available at: http://adage.com/article/media/reasons-mens-magazines-a-good-2013/245451/ [Accessed 22 February 2014]. Silverstein, B, 2009. Magazine Brands: A Niche for Success [online]. Brand Channel. Available at: http://www.brandchannel.com/features_effect. asp?pf_id=466 [Accessed 16th March 2014]. Singh, D, 2012. Magazines ABC’s: FHM Tumbles another 9.5% in “extremely challenging” market [online]. Media Week. Available at: http://www.mediaweek.co.uk/article/1117600/magazine-abcs-fhm-tumbles-95-extremely-challenging-market [Accessed 1st May 2014]. Tesseras, L, 2013. The marketing trends for 2014 part one [online]. Marketing Week. Available at: http://www.marketingweek.co.uk/trends/latest-trends/the-marketing-trends-for-2014-part-one/4008889.article [Accessed 31st March 2014]. The Gentlewoman, 2014. About [online]. The Gentlewoman. Available at: http://thegentlewoman.co.uk/#/about [Accessed 10th May 2014]. Thielman, S, 2013. The Millennial Male is Not Who You Think he is. Marketers Should Take Not [online]. Ad Week. Available at: http://www.adweek. com/news/advertising-branding/millennial-male-not-who-you-think-he-152929 [Accessed 10th May 2014]. University of Toronto, 2014. Ray of hope for magazines in digital era [online]. Science Daily. Available at: http://www.sciencedaily.com/releases/2014/01/140115143610.htm [Accessed 16th March 2014]. Whitely, G, 2013. The top 10 best shops in the world [online]. The Drum. Available at: http://www.thedrum.com/opinion/2013/09/16/10-best-shopsworld-4-alfred-dunhill-bourdon-house [Accessed 22nd April 2014].
120
JOURNALS & REPORTS
Anon, 2013. Global Magazine Publishing: Market Research Report. IBIS World [online]. Available at: http://www.ibisworld.com/industry/global/global-magazine-publishing.html [Accessed 5 March 2014]. Anon, 2014. Consumer magazine publishing. WC [online]. Available at: http://www.pwc.com/gx/en/global-entertainment-media-outlook/segment-insights/consumer-magazine-publishing.jhtml [Accessed 5 March 2014]. Brooks, K and Jackson, 2009. Making sense of men’s lifestyle magazines. Environment and planning D: Society and Space (17), 353-368. King, M, 2012. Men’s magazines paying the price when consumers won’t. Mintel [online]. Available at: http://academic.mintel.com/display/508700/?highlight [Accessed 23rd March 2014]. Masta, K, 2012. Magazines: By the Numbers [online]. The State of the News Media. Available at: http://stateofthemedia.org/2012/magazines-arehopes-for-tablets-overdone/magazines-by-the-numbers/ [Accessed 20th March 2014]. Masurier, M, 2011. Paper Politics? The Pleasures of the Indie Magazine [online]. Available at: http://www.cardiff.ac.uk/jomec/resources/mtm2011/ LeMasurier_Megan.pdf [Accessed 30th March 2014]. Mintel, 2014. Digital Trends Spring. Mintel [online]. Available at: http://academic.mintel.com/display/698276/?highlight [Accessed 23rd March 2014]. Mintel, 2013. Print Magazine Behaviour. Mintel [online]. Available at: http://academic.mintel.com/display/669721/?highlight#hit1 [Accessed 23rd March 2014]. Mintel, 2013. Magazines Read in the Past Six Months. Mintel [online]. Available at: http://academic.mintel.com/display/669727/?highlight#hit1 [Accessed 23rd March 2014]. Mintel, 2013. Segment Performance. Mintel [online]. Available at: http://academic.mintel.com/display/669715/?highlight#hit1 [Accessed 23rd March 2014]. Mintel, 2013. Digital Trends Winter. Mintel [online]. Available at: http://academic.mintel.com/display/688318/ [Accessed 23rd March 2014]. Mintel, 2013. Magazines-UK [online]. Mintel. Available at: http://store.mintel.com/magazines-uk-june-2013 [Accessed 19th March 2014]. Mintel, 2010. Men’s Magazines-UK [online]. Mintel. Available at: http://store.mintel.com/mens-magazines-uk-february-2010?cookie_test=true [Accessed 19th Match 2014]. PWC, 2014. Consumer Magazine Publishing [online]. PWC. Available at: http://www.pwc.com/gx/en/global-entertainment-media-outlook/segment-insights/consumer-magazine-publishing.jhtml [Accessed 1st April 2014]. Rubio-Hernandez, M, 2010. The Representations of Men Depicted in Men’s Health Magazine. Revista Comunicaion [online]. Available at: http://www.revistacomunicacion.org/pdf/n8/articulos/A5_The_representations_of_men_depicted_in_mens_health_magazine.pdf [Accessed 16th March 2014]. Voinea, L and Filip, 2011. Analyzing the Main Changes in New Consumer Buying Behaviour during Economic Crisis [online]. (1), 14-19. Available at: file:///C:/Users/Hannah/Downloads/3-32-1-PB.pdf [Accessed 30th March 2014].
APPENDIX
122
Appendix 1: Face to Face Interviews
Interview with Peter Garner: 01/05/2014 at 2:30pm in Waterstones
1) What brought you to the magazine stands at Waterstones today? I just came here to browse around really. I’m not looking for anything in particular but there is always quite a good selection in Waterstones to choose from. 2) Is there a particular genre of magazine you like to read, or one you always go back to every issue? (Laughs) No not at all. I don’t usually read a magazine unless I have some spare time or something in particular catches my eye. I do like to read about travel and sport and maybe occassionally a little music because I am a keen guitar player, but thats all. I mainly read free magazines or newspapers that I receieve through the door. 3) Do you think there anything that could persuade you to frequently buy a certain magazine? Maybe the content or something you find interesting about one? (Thinks) Possibly. But I’m not usually able to visit a shop like Waterstones to buy a magazine so I would probably just subscribe in that case. 4) Do you currently have any subscriptions on the go? My wife has a subscription to Coast magazine which I reguarly read as well, but apart from that no. 5) You previously mentioned the kind of topics you most like to read about. Would you be more likely to buy a magazine if you could just specifically read about these? Most definately. But again, I would probably subscribe if I could. 6) Lastly, how many minutes on average do you read per day? Umm, maybe 30-45 minutes leisure reading. Most of the time I am reading things for work.
123
Interview with Stuart Howell: 15/04/2014 at 10.20am in Waterstones
1) What brought you to the magazine stands at Waterstones today? I came here to see whether they had any new magazines that I haven’t come across before. I have a collection of independent magazines that I have aquired from different stores at home, so I am continually looking to add to that. I am a bit of a magazine hoarder so anything new I see is just a must. 2) Is there a particular genre of magazine you like to read? What magazines are currently in your collection? No I don’t think there is. I will honestly read anything and everything as long as its different. Thats the key for me, something different that I haven’t read before. That’s probably why I own so many. I do have some favourites. Things like Fantastic Man and Monocle are really great. The content is always really interesting and they lookg great too. 3) Seen as you already have such a broad collection, do you think there anything that could persuade you to frequently buy a certain magazine, say monthly or quartely? Well like I said, I like different things. If a magazine was able to offer such a variation I would be surpised. But of course that would definately be something I would always go back to. 4) Do you currently have any subscriptions on the go? I should have with the amount of money I spend on them, it would work out a lot cheaper, but I still go into stores frequently to buy a copy off the shelf. I’m not saying that’s a preference. More of a habit. I like the environment of taking time to choose what I want. 5) What topics in magazines do you most enjoy reading about? Umm, technology, business, travel and music are all up there for me. But I do occassionally like something more philosophical. I can be known to reguarly read something about fashion (laughs). As long as it’s not too serious. 6) Do you ever read magazines online? Very, very occassionally. Not so much magazine because the experience of reading a magazine is much more meaningful when holding a physcial copy. Although I will read a newspaper. Something awful like the Sun or Dailymail. 7) Lastly, how many minutes on average do you read per day? 1-2 hours most probably. Evenings are usually my downtime for things like reading. I try to make the most of it as possible after a busy day.
124
Interview with Dominic Struth: 15/04/2014 at 12.10pm in WHSmith
1) What brought you to the magazine stands at WHSmith today? I recently discovered a new magazine called Roadbook online, so I came to see if I could find it here. 2) What is it that attracted you to this magazine? Do you look for anything in particular in magazines? I was interested in this one because I am really interested in travel so though this would be the perfect magazine for me! I’ve read it gives a really in-depth look at travelling on the road to different places in Europe like Milan. That is something I have always wanted to do myself so I’m hoping it will be really interesting and helpful. Do I look for anything in particular in magazines? Umm, just good content and something that’s nice looking. That’s all I’m really looking for. I also like photography, so good photography in a magazine is a bonus! 3) What publications do you usually purchase? Are they more mainstream or independent? I read magazines such as Port and The Wire. Both usually have some really interesting and innovative articles. I would say though, that although I have been known to read the typical men’s magazine, I am looking out to more independent publications because they seem to offer something a bit different. 4) Do you currently have any subscriptions on the go? Yes, I subscribe to Port. 5) What topics in magazines do you most enjoy reading about? I would say mostly technology and subjects like art. That’s really what I’m all about. 6) Do you ever read magazines online? Nope I can’t say I ever have. Well not that I remember anyway. I always store my magazines away in my study at home. I couldn’t do that with an online magazine could I? There is something more sentimental about a tangible magazine. 7) Lastly, how many minutes on average do you read per day? Around an hour I’d say if i’m lucky! I mostly read when travelling on buses and trains during my journey to work.
125
Interview with Tom Lowey: 01/04/2014 at 13:25pm in The Magazine Shop, Nottingham
1) What brought you to this independent magazine store today, rather than others such as Waterstones and WHSMith? Simply because of more choice, and I came to buy some chocolate on my lunch break (laughs). 2) What kind of thing are you looking for? I was actually looking for the new issue of Fantastic Man, but it looks like they either haven’t got it in or have sold out. 3) What is it about this magazine that appeals to you? It’s not full of all the typical ‘lad’ content you find in most men’s magazines. I’m not interested in all that. I want a magazine that inspires me and provides me with a different outlook. I can’t say anyone like GQ is going to give me that. 4) What do you find most attractive about independent magazines compared to the more mainstream? It’s as simple as they look better, feel better, and the majority of the time they actually give me something I want to read about. 5) Do you currently have any subscriptions for independent magazines? No I don’t subscribe. Sometimes I feel like that could limit what I read. 5) What topics in magazines do you most enjoy reading about? Absolutely everything. Give me anything and I should be able to find something interesting about it. 6) Would you ever be interested in a subscription service if it was to offer you the choice of content you like to read about? Yeah, that could be good. Like I could pick everything I wanted? I wouldn’t say no. I still think it would need some unknown element to keep me interested, otherwise I would just pick what I want to read online elsewhere, but yes. Give me something unexpected and I’ll take it. 7) Lastly, how many minutes on average do you read per day? Errm, quite a lot here and there. Mainly in the evenings or on my lunch breaks at work. It’s nice to escape for a while in the middle of a busy day.
126
Interview with Richard Lockerly 20/04/2014 at 16:30pm
1) Which magazines do you most commonly purchase? Umm usually Port, Delayed Gratification and Wallpaper. They are all coompletely different but compelling. 2) What is the appeal of independent magazines over mainstream publications? I like the fact that every independent magazine I pick up has an individual voice and an alterante way of expressing an opinion. To me, that is what makes a great magazine. I use to buy certain mainstreams because of the easy readership, but they were all the same. I could pick up two different magazines and they would both contain the same stories. 3) If a magazines content was specifically catered to your interests and reading habits, would this appeal to you? Definately! I’m not sure how that would work off the top of my head but it definately sounds like something I’d be interested in. Nowadays everything is so catered to everyone’s needs. It’s surpising something like this hasn’t been created already. People want closer relationships with brands. It just makes sense. 5) Do you currently read any brand magazines or brand sponsored magazines? Every so often I will come across one in-stores and yes I’ll read it. I’ve heard Mr Porter is a great one but sometimes I feel that with such magazines there needs to be less of a focus on clothing and things like that, and more on what their consumers are interested in. Something lifestyle based. That would be better. 5) What topics in magazines do you most enjoy reading about? I really enjoy reading about a few different things. I’m partial to some clothing based pieces, but as long as they are not to obnoxious. For someone like me it needs to be kept simple. Clever but simple. But there is only certain things I read a magazine for, so most of the pages won’t even be turned. 6) Would you ever be interested in a subscription service if it was to offer you the choice of content you like to read about? Umm, yeah sure why not! 7) Lastly, how many minutes on average do you read per day? On a weekday between 15-20 minutes. On a weekend maybe around 2 hours! That is my time to rest and re-charge. Reading is the best way to do that.
127
Appendix 2: Magazine Interviews
Interview with Mark Thomas: 04/04/2014 at 13:20pm
What first attracted you to visit Rome and why? The history and the romance of the city. There seemed to be this undeinable aura surrounding the city that just encapsulated me and drew me towards it. I wanted to wonder around its historic landmarks and take is all that I could. I’m at my happiest when I am left to travel and explore.
With so much in terms of history and culture to see, how much time was spent exploring other aspects such as food? Quite a bit. Everywhere around the city are small hidden coffee shops, individual cafes and of course traditional Italian restaurants. The key to Rome’s soul lies in the food. It would be an undeniable crime not to indugle in such things.
Where is your favourite spot to visit in Rome and why? Hadrian’s Villa without a doubt. It is possible one of the most beautiful, untouched places on earth. It’s not one of the most popular tourist spots in Rome but is truly a gem that shouldnt be ignored.
Do you plan your trip in advance or prefer to take it in as you go? Always spontaeous. Of course it’s important to plan, but the spontaneity always makes a trip.
What makes the city so unique from any other? The history and culture along with its modern twists. There is nothing else like it.
What is your ideal way to spend an evening in Rome? Idealling dining in one of the cities very many exquisite restaurants, eating fabulous food before then roaming the narrow streets for hours on end, discovering cosy Italian bars and unique shops.
How would you describe the city in three words? Charming Refined Elegant
Any last minute suggestions for those you haven’t visited yet? Just go. That’s all I can say.
128
Interview with Andrew Barr: 01/04/2014 at 17:30pm
What first attracted you to visit Rome and why? A friend mentioned that they had stopped over in Rome during a cruise a few months before. They recommended it so I went.
Where is your favourite spot to visit in Rome and why? Im not sure if I have one particular favourite spot. All the historical sites are nice but there are some unseen places that I uncovered which aren;t pinpointed on the typical tourist guide.
With so much in terms of history and culture to see, how much time was spent exploring other aspects such as food? All the time. Nearly every street corner offers some unique. It would almost be rude not to try them out.
Do you plan your trip in advance or prefer to take it in as you go? The first time it was definately planned. The next two were a little more last minute. I never really need a specific reason to go back. What makes the city so unique from any other? Every city is unique. Rome just mixes modern culture with its Italian culture.
What is your ideal way to spend an evening in Rome? Such a typical answer, but relaxing in one of its many traditional restaurants eating fine food. Some places can be a little pricey in the evening but it’s always worth it for that little extra.
How would you describe the city in three words? Flourishing Unexpected Plush
Any last minute suggestions for those you haven’t visited yet? Don’t always stick to the typical tourist hot spots. There is so much more to see than meets the eye, but I’ll leave that for you to discover.
129
Appendix 3: Emails
Hi Steve, You recently tweeted me your email on Twitter, as I was wondering whether you’d being able to offer advice with a project I am currently working on. My name is Hannah Austin and I am currently a third year Fashion Communication and Promotion Student at Nottingham Trent University. As part of my dissertation I am working on a self devised project, creating and designing a new quarterly customiz-able men’s trend and lifestyle magazine. The aim of this is to provide each consumer with an individual magazine, tailored to their personal interests, and containing only the topics they want to read about. As part of this I am looking to get in touch with various magazines and editors already in the market in order to gain a greater understanding of the 30-50 year old male consumer and what they feel this consumer demographic desire from print magazines. As inspiration for my own magazine, I am particularly interested in the opinions you have on the current market. I recently attended a lecture you presented at Nottingham Trent University and would love if you would take the time to answer a few quick questions! Below I have attached the questions to be answered. All answers given will be solely used for personal dissertation research purposes. Thank you for your time in advance. If you have any further questions please do not hesitate to ask either me or my university tutor at matthew.gill-brown@ ntu.ac.uk I look forward to hearing from you soon!
Best Regards, Hannah Austin
Questions How well do you feel the world of men’s print magazines is coping with the influx of digital alternatives? What do you feel the 30-50 year old male consumer wants from a print magazine? In the age of digital, do you feel more visually, aesthetically appealing print magazines are needed in order to capture the consumers attention? What do you feel are the most attention grabbing topics the 30-50 year old consumer wants to read about? With the trend of personalisation spreading across a number of sectors including tourism, fashion etc. Do you feel their is a gap in the market for a magazine that can also be personalized? Do you feel that with the current return to more artisanal craftmanship, the visual design of a print magazine can outweigh the desire for online alternatives?
130
Hi Hannah, I’d be more than happy to speak to you about this. I’m going to be out pretty much all day on Monday and Tuesday next week, but am fairly free on Wednesday and Thursday. Shall we set a time to speak then? Best, Steve.
131
To whom it may concern, My name is Hannah Austin and I am currently a third year Fashion Communication and Promotion Student at Nottingham Trent University. As part of my dissertation I am working on a self devised project, creating and designing a new quarterly customize-able men’s trend and lifestyle magazine. The aim of this is to provide each consumer with an individual magazine, tailored to their personal interests, and containing only the topics they want to read about. As part of this I am looking to get in touch with various magazines already in the market in order to gain a greater understanding of the 30-40 year old male consumer and what they feel this consumer demographic desire from print magazines. As visual inspiration for my own magazine, I am particularly interested in the opinions of Kinfolk. Therefore would love if a relevant candidate within the magazine would be able to answer a few questions on Kinfolks behalf. Below I have attached the questions to be answered. All answers given will be solely used for personal dissertation research purposes. Thank you for your time in advance. If you have any further questions please do not hesitate to ask either me or my university tutor at matthew.gill-brown@ ntu.ac.uk Yours Sincerely
Hannah Austin
Questions How well do you feel the world of men’s print magazines is coping with the influx of digital alternatives? What do you feel the 30-40 year old male consumer wants from a print magazine? In the age of digital, do you feel more visually, aesthetically appealing print magazines are needed in order to capture the consumers attention? What do you feel are the most attention grabbing topics the 30-40 year old consumer wants to read about? With the trend of personalisation spreading across a number of sectors including tourism, fashion etc. Do you feel their is a gap in the market for a magazine that can also be personalized?
I look forward to hearing your thoughts!
132
Hi Hannah, Thank you for reaching out and for sharing your dissertation with us. Unfortunately at this time the team is extremely busy with the next issue deadline looming and none of the editorial team would could properly answer your questions will be available to do so. I have attached our press kit which we have attempted to put together in order to answer most of the common questions and I hope it may be of use to you in your project. I’m sorry we aren’t able to assist you further at this time and wish you the best of luck with your dissertation. Best, Nate
Appendix 4: Social Media Messages
134
Appendix 5: In-Store Observations
135
Appendix 6: Online Surveys
136
137
Appendix 7: Consent Forms
138
139
140
141
142
143
144
Appendix 8: Tutorial Record Sheets
145
146
148
149
150
Appendix 9: Case Studies
Dutch magazine ‘Aevnue’ launched itself onto the market, contained within a box. This box not only contained the magazine, but collectively an array of samles and supplements for the consumer.
Everyman will aim to reflect a similar standing as Avenue, in the way that despite the consumer chosen content, they will also receive something extra.
151
152
EVERY | MAN A BESPOKE MAGAZINE FOR THE MODERN MALE
Word Count: 5478
153
154
155
156