SPRING 2015_PROMOTING THE EFFECTIVENESS OF PRINT MEDIA THROUGHOUT EUROPE
A TOUCH OF CLASS Why print is the perfect partner for luxury publishing COME FLY WITH US The rise and rise of inflight magazines
The cut-through medium Release your brand’s potential by engaging the senses
PRIDE AND PREJUDICE Why print is the world’s most sustainable medium WHAT’S THE FUTURE FOR PRINT? We ask some of Europe’s top media figures
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I
AM A
BOOST TO
YOUR
ROI
I am the power of print. When using the optimal media mix for FMCG campaigns, which involves increasing magazine’s share, return on investment (ROI) will increase from 1.64 to a ROI of 1.75. By optimizing your print investments in FMCG you can increase your ROI by 17%. Read the BrandScience analysis for w w w.printpower.eu more details on www.printpoweruk.co.uk
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/ CONTENTS
16 | HEAVEN SCENT
22 | LUXURY
36 | COME FLY WITH US
FIND OU T MORE Print Power is a European initiative dedicated to strengthening the position of print media in a multi-media world. For more information, go to www.printpower.eu
04-10 Engage The latest European news, research, opinion and trends in the world of print, media, advertising and marketing.
10 0 % RECYCL ABLE Print Power is printed on 100% recyclable paper from sustainable managed forests. All inks and finishes are also 100% recyclable and biodegradable. Printed using vegetable-based inks by an ISO 14001-accredited printer.
12-13 Take 5 From the album cover you can play yourself to the beer that chills using a print ad, we gather the finest examples of print marketing.
PRINT POWER Published by Print Power www.printpower.eu Content by Soul Content www.soulcontent.co.uk Editor Sam Upton Design Ian Findlay Coordinators Martyn Eustace Jonathan Tame Shareena Patel Print PCP Data management DST PrintPower UK iCon Centre, Eastern Way, Daventry, Northamptonshire, UK NN11 0QB info@printpower.eu +44 (0) 1327 262 920 www.printpower.eu #Printpower © 2015 Print Power
14-15 Thought Leaders Royal Mail MarketReach MD Jonathan Harman and MD of Whistl and Chairman of ELMA Mark Davies delve into the latest reports into the effectiveness of direct mail and door drop. 16-20 Sensory marketing We investigate how using scent in your print campaigns can improve their effectiveness and help keep your brand front-of-mind for your customers. 22-25 Luxury publishing Tyler Brulé, Tony Chambers and Joerg Koch line up to explain why luxury publishing is a huge success story for readers, publishers and advertisers alike. 26-30 The sustainable medium We explore the impact print really has on the environment and give you the facts on the sustainability of print.
46 | THE FUTURE FOR PRINT
32-35 Meet Mr Magazine An exclusive interview with the world’s leading publishing expert. 36-40 Inflight magazines Your onboard publication not only gives airline passengers something to read, it provides brands with a captive audience of millions. 42-45 Paul Keenan The Chief Executive of Bauer Media UK sits down with Print Power for an exclusive interview about what his company’s magazine brands can offer advertisers and its longstanding commitment to print. 46-49 The future for print We gather five of Europe’s top media experts to discuss and debate where print is going and how it will get closer to digital for a truly immersive reader experience. 51-57 Knowledge From direct mail and customer magazines to catalogues and magazine advertising, discover why print media should be a key part of your marketing strategy. 58
Final word Rafael Alférez, Marketing Director of BMW Spain, on how the iconic car brand uses print to drive its campaigns further.
Sponsored by
www.printpower.eu | PRINT POWER _ 03
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Redefining print as personal
www.dstwatercooler.com
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The latest news from the world of print
Like!
From NFC chips embedded in print ads to a magazine that connects directly to Facebook, the future of print is here Recently, the Holy Grail for marketers has been how to bridge the gap between print and online. This quest has led to the development of a number of different bridging technologies – and the creation of a series of innovative print campaigns – to shift people from print to digital. AR is arguably the more mature bridging technology with numerous examples of campaigns using this image recognition technology to bring content to life. But cannier marketers are using the latest technology to increase engagement with consumers. Car giant BMW commissioned tech company Tamoco to embed NFC chips
into adverts in the German print magazine Spiegel Wissen. Readers tapped their smartphones on an ad for BMW’s ‘Car of Tomorrow’ to instantly download an app for the company’s i electric car range. They could then use the app to interact with the advert and receive relevant content, with BMW able to capture and analyse reader responses. But no brand has bridged the gap between the online and offline worlds as successfully as fashion chain C&A. Last year the company’s Brazilian division unveiled an innovative printed ‘Like Ad’ in Contigo magazine that automatically synced to Facebook. Special editions of the magazine embedded with
electronic chips were sent to shoppers, who were invited to endorse fashion products by touching a series of ‘Like’ buttons printed throughout the issue. These likes were uploaded to readers’ Facebook feeds, with C&A also using the data to create a window display, showing the most popular outfit. With further innovation anticipated to come online – and offline – over the coming months, the gap between print and digital is well on its way to being bridged. + For more information on the BMW NFC ad, go to tamo.co + For a video of the C&A ‘Like’ campaign, go to bit.ly/1G3WSKP www.printpower.eu | PRINT POWER _ 05
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68% OF US RETAILERS SAY THAT PRINT IS CRITICAL TO THEIR MARKETING STRATEGY (NEILSEN, 2014)
Apple Watch first advertised in print
Before its US launch in April, Apple fans all over the world were seeking any rumour about the much anticipated Apple Watch, the company’s first steps into the wearables market. But rather than making a big announcement via their website or social media platforms, Apple decided to use print for the watch’s first advert. Of course, this being Apple, this was no ordinary ad. They booked a 12-page spread in the March issue of Vogue, cementing the watch’s status as a highly desirable fashion accessory. All three versions of the watch – the leather standard edition, sports version and the 18-carat gold model – were artfully displayed in classic Apple style, blending seamlessly with the magazine’s other luxury adverts. The ads were quickly followed by a two-page spread in Vogue Paris, featuring shots of models wearing the gold edition. It’s clear that Apple is positioning the Apple Watch as a fashion item first and gadget second, and having a presence in luxurious high-end print is a key part of that. + To find out more about the Apple Watch, go to www.apple.com/watch
“Many of the world’s biggest brands want to see their ads in print, where advertising actually enhances the overall experience. That’s unlike TV or digital media, where in many cases consumers are doing everything they can – even paying extra money – to avoid advertisements” Ad Age, January 2015
The Private Life of Mail Royal Mail MarketReach have released the findings of their extensive research into the role and success of direct mail in the home. Following 18 months of quantitative surveys, academic study, focus groups, neuroscience projects and tactility work, The Private Life of Mail report has proved that mail is opened, read, kept and acted upon. The study even put cameras inside people’s homes to discover how they interacted with their mail and what they did with it once it was read. What the research found is that mail is thriving as a marketing channel, with 57% of respondents saying that receiving mail makes them feel more valued, and 60% saying the
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/ ENGAGE The world of print
+ JC Penney, the US retail giant, has relaunched their print catalogue after data showed that the company seriously underestimated the effect print had on their sales figures. “Research has shown that our customers still prefer to browse a print piece then go online to order,” said company spokeswoman Kate Coultas. + Heineken used the relaxing qualities of print for a unique campaign in which it transformed digital messages from its customers into handwritten notes. ‘Spark Your Holidays’ invited customers to slow down and connect with loved ones by sending Heineken a digital message. The messages were then transcribed onto paper by a handwriting robot before the notes were mailed to the recipient’s address. The campaign was so successful, the brand is considering repeating it next Christmas.
best mail advertising helps keep a sender’s brand top of mind. ROI is also significantly improved, with the result that campaigns including mail are 27% more likely to deliver top-ranking sales performance and 40% more likely to deliver top-ranking acquisition levels versus campaigns without mail. “Mail has the benefits you might associate with above-the-line media,” says Jonathan Harman, MD at Royal Mail MarketReach, “such as creating strong emotional connections and brand associations.” + For more about The Private Life of Mail report, read Jonathan Harman’s exclusive Thought Leader piece on page 14.
57% of respondents claim that receiving mail makes them feel more valued 38% say the physical properties of mail influence how they feel about the sender 60% say the best mail advertising helps keep a sender’s brand top of mind Advertising mail is kept in a household for an average of 17 days Mail triggers the highest neurological responses in the brain in terms of engagement, emotional intensity and long-term memory coding compared to email and television 68% of new audiences desire some communication by mail
+ For those magazine hoarders in your life, a German design company has created a way of turning them into a piece of practical furniture. The Hockenheimer Adjustable Storage Stool comes with a birch wood base, two leather straps and a handmade pillow. All you have to do is provide the magazines. + Typewriters are undergoing a worldwide revival because of security concerns about digital data. Following the NSA leaks, the Russian government made a large order for typewriters, while the New York Police Department spent $1 million on manual and electric typewriters. + Norway’s recent redesign of its passport has gained praise across the world for its stunning design and use of UV-sensitive ink. Each page contains an intricate drawing of the country’s natural scenery, but when put under UV light, the image turns into a gorgeous night scene with the Northern Lights glowing above the mountains.
www.printpower.eu | PRINT POWER _ 07
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precisioncolourprinting limited
the magazine and catalogue printers!
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/ ENGAGE
18-22 May 2015 Fespa 2015 As the world’s largest focused event for wide format digital, screen and textile print technology, Fespa 2015 gathers together the print elite for two weeks of expert talks, product launches and live demonstrations that will transform your perceptions of the capabilities of modern print technology. + Cologne, Germany | 2015.fespa.com 21-27 June 2015 Cannes Lions This should already be marked in capital letters in your diary, but this legendary event is a must-attend for anyone even remotely connected to the advertising and marketing industries. This year features speakers including Al Gore and actress Julia Louis-Dreyfus. + Cannes, France | canneslions.com 5-7 October 2015 World Publishing Expo 2015 This will be the 45th World Publishing Expo and is expected to attract more than 10,000 visitors from 80 countries to Hamburg. The vast event brings together thought leaders and decision makers from the world’s largest publishers to bring them up to speed with the very latest thinking and innovations around the newspaper industry. • Hamburg, Germany wan-ifra.org/events/world-publishing-expo-2015 13-15 October 2015 FIPP World Congress The largest event for the global magazine industry this year takes place in Toronto, Canada, and promises an exciting line-up of big-name speakers alongside the world’s largest publishers and suppliers. Networking is key to this event so make sure you go armed with plenty of business cards. • Toronto, Canada | fippcongress.com 31 May – June 10 2016 Drupa 2016 Held every four years, the entire print industry will be descending upon Düsseldorf for Drupa 2016. With all major print companies exhibiting, the event is massive: 19 halls packed with the latest technology and the world’s leading print experts, creating an event with the enticing theme of ‘futureorientated technologies’. + Düsseldorf, Germany drupa.com
The latest report from the National Readership Survey (NRS) has found that Tesco magazine, the customer title for the supermarket giant, is the most-read print title in the UK. Between April-September 2014, the title increased its readership to 5.4m, exceeding all other print magazines. The magazine is part of a complete content package created for Tesco by their content marketing agency Cedar Communications, F O O D F A M I LY L I V I N G which also includes digital, social, events and health campaigns. “We are thrilled that Tesco Magazine is so popular with our customers,” says Joanna Rose, head of content and conversation at Tesco. “The content is designed to engage our customers on the topics that matter to them and it’s great that they enjoy it so much.” ’s ther Mo Great Day gifts + For more information on the National Readership Survey, go to www.nrs.co.uk FREE
P R I N T • O N L I N E • TA B L E T
MARCH 2015
anniversar th y 10
INSPIRING
Meet our amazing Mums of the Year
CREATIVE
Fun holiday crafts for the kids
STYLISH
Beautiful looks for your home
GORGEOUS EASTER BUYS
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Event diary
Tesco magazine comes out on top
tep into spring
HOW TO HELP YOUR KIDS BE MONEY SMART
Advertisers continue to move into print Despite the rapidly growing digital advertising sector, the number of brands deciding to advertise in print is continuing to increase. MediaRadar looked at 177 national consumer magazines in the US and found that the number of brands advertising between JanuarySeptember 2014 increased by almost 9% to 16,024 year-on-year. Of those, 7,799 were new brands that didn’t advertise in these titles the year before.
Not only were more brands advertising in print, but this increase was repeated across all advertising categories. ‘Home furnishings’ experienced the most growth, as the number of advertising brands increased 24% to 1,190 total brands, with ‘Apparel & Accessories’ coming up a close second, growing 11% to 1,706. + For more information on the MediaRadar report, go to bit.ly/1HqOJws
Number of advertising brands, by advertising category January - September 2013 v 2014 177 consumer magazines Home furnishings
920 1095 1555 1650
Apparel/Accessories
1225 1320
Retail Toiletries/cosmetics
1024 1080
Media
915 1018
Athletics Financial/Real estate
860 920 800 860
Advertisers Jan - Sept 2013 Advertisers Jan - Sept 2014
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ENGAGE
\ New website for Print Power Print Power has always been an organisation that understands the power of print, especially when combined with online and social platforms. So practising what we preach, we have relaunched our website with a brand new look and plenty of new content. The website still covers the latest news in print marketing from around the world, as well as valuable research results and details about the Print Power organisation, but now boasts hundreds of inspirational case studies from all areas of print. + To get inspired, go to www.printpower.eu
77%
OF CROSS-CHANNEL MARKETERS RAN MORE THAN ONE MAIL CAMPAIGN OVER THE PAST YEAR (RICOH, 2015)
TWEETS, PERKS, AND WHEELS Social media buzz, rewards to enjoy, new car deals
HOW TO FILL YOUR BACKSEAT Coming events and dates for peak ridership
MOMENTUM T HE M AG A ZINE FO R UBER PA R T NER S
POWER STEERING Savvy partners are putting Uber on the map
LAUNCH ISSUE
Uber make magazines their latest driver
Another first for AnOther Upmarket fashion and culture title AnOther Magazine has created a groundbreaking digital edition featuring a highdefinition moving cover and bespoke soundtrack. Using LED technology, the cover is a digital screen that plays a two-minute video clip of Rihanna, with the user able to hear the soundtrack by plugging in a pair of headphones into the issue’s inbuilt MP3 player. The digital cover wraps around AnOther Magazine’s 440 pages of high fashion and lifestyle content, with the issue dedicated to fashion designer Alexander McQueen. Launched at Paris Fashion Week, the special issue may be a little pricey ($125) but it demonstrates what can be done when you combine the worlds of digital and print. +To watch a video of the cover in action, go to bit.ly/1Eo84AA
THE SPLENDID SIXTH STAR Honoring Uber partners who go beyond the call of duty
“We’re having our biggest print magazine readership in our 97-year history right now. You just have to listen to your readers, understand the medium that you’re working in and not try to make it something it doesn’t want to be. If you try to make a magazine like a website, it’ll be a bad magazine.” Randall Lane, Editor, Forbes
Hot on the heals of Airbnb, global taxi service Uber is launching its own magazine. Titled Momentum, the publication will be distributed to the company’s 150,000 drivers in the US, entertaining and informing them with content such as how to exercise when you’re behind the wheel and the best places to eat on the go. Uber, a $41bn company, is using the magazine to get closer to its drivers, engaging them with regular communication to help them feel part of a community and increasing loyalty. With a number of negative stories about the taxi firm coming out over the past year, Uber are using print as part of a positive PR campaign to connect with users and drivers. “We want to strengthen the community of our driver partners,” said Ryan Graves, Uber’s Head of Operations, “by making sure they are up to date on new developments within our company and giving them new and improved methods to connect to us and one another.” + To download the first issue of Momentum magazine, go to bit.ly/1EbPiwl
FOR MORE NEWS ON THE PRINT MARKETING, ADVERTISING AND MEDIA INDUSTRIES, GO TO WWW.PRINTPOWER.EU
/PRINTPOWER
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Celloglas is the UK’s leading specialist in decorative print finishing. Decorative print finishes can be used to deliver innovation and added value, increase user interaction, demonstrate brand category leadership, enhance sensory experience and even stimulate debate in social media circles. Publishing / Packaging / Multimedia / Promotional / Greetings Ask us about: Silkscreen applications Gloss UV / Matt UV / Tinted UV Textured / Cellotex Water based varnish Pealescent Varnishes Re-moist Gumming Fragrance burst / scratch and sniff Thermochromic Ink / Rub and Reveal Photochromic / Light reactive Fluorescent Inks / Glow in the dark Silver and gold latex / Rub and remove Hi-build UV Glitter varnish
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TAKE FIVE +
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Discover why another giant digital firm is turning to print, how to chill your beer using a magazine ad and the latest print technology that’s getting the world’s designers excited
DJ QBert’s Extraterrestria With printed electronics getting more sophisticated and sales of vinyl records on the rise, it was only a matter of time before the two came together. Now DJ QBert, in association with Cambridge tech company Novalia, has developed the world’s fi rst playable album cover for his album Extraterrestria. The cover features a set of working Bluetooth MIDI decks and controls that connect to a smartphone, allowing you to scratch, mix and fade a range of beats and sounds to create your own music. “We believe the future will look more like the past than the present, where beautiful old school things we love and are nostalgic about will not die,” says Novalia’s Kate Stone. “We hope to breathe life into things like books and album covers, keeping the creativity in physical products alive.” + For more information and a video of the album in action, go to www.novalia.co.uk/ dj-qbert-interactive-dj-decks
Pineapple Online home rental service Airbnb has followed a number of digital brands by launching its own print magazine to get closer to its 25 million registered users. The quarterly title covers travel, culture, art and food, with a focus on great design and photography, and features content from Airbnb travellers and hosts. “Travel is about more than sightseeing and consuming, it’s about connections and community,” said Jonathan Mildenhall, chief marketing officer of Airbnb. “Pineapple will combine the emotional and practical sides of travelling by giving a comprehensive guide to neighbourhoods and cities, as well as capturing the sense of belonging that comes from a memorable trip.” + To find out more about Pineapple and buy a copy, go to www.airbnb.com/pineapple
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The Forecast Luxury publisher and global business and lifestyle magazine Monocle has strengthened its trust in print with the launch of an annual title. Designed to be read over three months, The Forecast includes photo essays, illustrated portfolios and long-form articles, as well as insightful copy from a range of global correspondents, business minds, historians, urbanists and diplomats. The title is already a hit with advertisers, with ad revenue already passing the €1m mark. “The “The Forecast fits a gap from a format point of view but also from an audience perspective,” said Tyler Brulé, editor in chief of Monocle. “We wanted to do something new. To challenge ourselves. We thought there was a reason to get our audience when they are taking a holiday.” + To find out more about The Forecast, go to http://forecast.monocle.com + To read our exclusive feature on luxury publishing, go to page 22
/ TAKE 5
Glacial Beer With With great innovations such as the the Nivea ‘Protection Ad’ and the the Tramontina Barbecue Bible, it’s clear that print is not only great to read, but can also have a practical value. And now you can use it to chill your beer. Ogilvy Brasil have developed a print ad for Brazilian beer brand Glacial beer that functions as a bottle chiller. Simply tear out the page, soak it in water, wrap it around a beer, stick it in the freezer and your drink will be chilled in half the time it normally takes. The secret is in the paper, which contains salt particles that reduces the freezing point of water, resulting in a faster chill time for whatever it’s wrapped around.
Moleskine Smart Notebook Designers and illustrators around the world are rejoicing at the news that Moleskine have launched a notebook that can turn handdrawn sketches into workable digital fi les. The Moleskine Smart Notebook connects to the Adobe Creative Cloud via a free app on your smartphone, which you use to capture the image before working on it in Adobe Illustrator or Photoshop. The notebook works by using special alignment indicators printed on the corners of the pages to translate the sketches into digital fi les, which can then be picked up in the user’s Creative Cloud account. The gap between the print and digital worlds is getting shorter every minute. + For more information about the Moleskine Notebook and a video of the technology, go to www.moleskine.com/adobe
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“ Mail makes people experience higher levels of emotional engagement and remember more than other media” Jonathan Harman
Thought leaders It’s research all the way in this section as Jonathan Harman, MD of Royal Mail MarketReach, and Mark Davies, MD of Whistl and Chairman of ELMA, explore the findings of the latest reports into the effectiveness of mail
Over the past 18 months, Royal Mail MarketReach has conducted the UK’s largest study into the effectiveness of mail as a marketing medium, and we’ve amassed an unprecedented body of proof about the role of mail in the digital age. That proof all points towards the fact that mail is still fantastically effective. For the first time ever, we looked behind the letterbox in the home. We did that using ethnographic observation techniques that included CCTV, followed up by quantitative surveys. So we put cameras in the home then interviewed the occupants, before validating those findings through a quantitative survey. What we found is that 39% of people say that they have a dedicated display area for mail and people are habitual in the
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/ OPINION way they process and store mail. We also found that mail is passed around, with 23% sharing information between others in the household. Interestingly 21% of special offers and promotions are shared. We also found that advertising mail sticks around in the home for an average of 17 days. That compares very favourably to the shelf life of other media, so there’s a real permanence to mail that is a key strength. There’s a definite emotional reaction to mail communication, with 38% of people saying that the physical properties of mail influence how they feel about the sender. So if an envelope feels premium, it conveys those attributes to the recipient of the mailing. We also looked at neuroscience, because much of what people do is automatic and subconscious, particularly in the way we absorb advertising messages. And there’s an instinctive interaction with mail in the way that people sort and display and interact with it. We discovered that there’s a measurable change in how consumers react when mail is added to other media. So where someone had seen a proposition or a logo in a mail pack, then saw the same thing on a TV screen, there was a neurological spike in their reaction. And the same thing was true the other way around. So clearly the media multiplier effect is at work and it would be possible for marketers to plan mail and TV or mail and all other media to take full advantage of that. We also found that mail is remembered. Over half of the respondents, 60%, said that the best mail advertising helps keep the brand top of mind. Mail works because it’s so immersive. It’s difficult to engage with a mail pack and do something else at the same time. The sense of touch is also very powerful, which is the reason why you’re so engaged with a piece of mail and why it’s such a strong marketing medium. The results of our research proves that in 2015, mail is thriving. Mail is opened, mail is read and mail is kept. Mail is a multi-sensory experience and research proves that right now, it’s more relevant than ever. + To find out more and download your free copy of The Private Life of Mail, go to www.mailmen.co.uk
“The reality is that print drives a huge amount of consumers’ online interactions” Mark Davies The doordrop industry is steeped in data, and there’s little doubt that the medium is indelibly linked to online behaviour. Most people, upon receiving a piece of doordrop media will go online to investigate further or even complete a purchase. However, over half of people doing so will use a search browser, and therefore it becomes di�icult to understand the actual effect this print medium has on a consumer’s online journey. As a result, ELMA commissioned a study asking the same questions to a representative audience of 11,000 people in 22 different markets across Europe to investigate the attitudes and behaviours of consumers who were recipients of doordrop media. For me, the research was about understanding the consumer journey and the role doordrop media plays. We wanted marketers to hear what consumers are saying in today’s increasingly digital world, to understand what they think about traditional print media and how it drives their interactions. The research identified that, on average, 60% of people spoken to said that doordrop media is one of their preferred channels for receiving retail offers. When looking at the
interactive impact, it was found that 89% of people said that a�ter reading doordrop items, they went online. These interactions were occurring in a number of different ways that included searching through a browser or specifically typing in a unique url taken directly from a piece of doordrop media received. Of course, other media, whether it’s TV, out of home, email or social all play important roles in the communication mix. However, not one of those should be allowed to dominate or control the conversation, and doordrop is continually proving to be an effective and complimentary communication channel. Sometimes, too much is made of the disruption or interruption of digital and for those who are investing all or the majority of their marketing budget in digital media, I’d suggest that they are spreading themselves too thinly and narrowing results. Digital has only given people something else to do; it hasn’t replaced things. Research like this is a great way to understand our audience and to help create effective and successful campaigns for the brands who work with us. We realise that consumer behaviour is increasingly happening in the digital world, yet this research provides clear evidence that doordrop media drives consumers online. Doordrop media has an important role to play in the customer journey and is most effective when used in conjunction with other media. + For more information on the ELMA and its Perception of Door Drop Media report, go to www.elma-europe.com www.printpower.eu | PRINT POWER _ 15
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Heaven scent Sensory marketing is back in vogue as brands begin to realise that stimulating their customers’ senses increases engagement and makes print campaigns more effective. So close your eyes, inhale deeply and let us take you to a better place BY SIMON CREASEY
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/ SENSES
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nothing tantalises the senses more
“At a fundamental level, the more senses you engage, the more stimulating and memorable the experience” Charles Spence, Crossmodal Research Laboratory
seductively than scent. Whether it’s the smell of freshly cut grass, bread baking in the oven or the perfume of a loved one, scent teases our olfactory system and can evoke all manner of powerful memories and connections. That’s because scientists believe that images remain in our memories for longer if we associate scents with seeing them. The sense of smell is also the most direct human sense as it influences 75% of the emotions that we feel on any given day (Follmann), which is why the use of scent in marketing is such an incredibly powerful and persuasive tool. “The sense of smell has very strong links to emotional parts of the brain,” explains Professor Charles Spence, head of the Crossmodal Research Laboratory, whose specialist research area is the role of attention in multisensory perception. “There is also the Proust phenomenon, which deals with how smells can take us back and remind us of things in a way that other senses just can’t do.” In addition to helping lodge a product in a potential customer’s long-term memory, thus increasing memorability, research shows that ‘scent marketing’ can increase perception of a brand’s advertising by 19% (Starch Advertising Research) and increase sales by as much as 10% (University of St Gallen). And these impulses become even stronger when the marketing collateral containing the scent is engaging.
Research shows that 57% of consumers pay more attention to advertising with a creative design, while 42% find advertising more interesting when some sort of interaction occurs, such as ‘scratch to reveal’ (Bauer Media KG). These findings are supported by a study undertaken by Starch Advertising Research in 2011, which found that on average, 17% of readers who noticed a scented paper advert in a magazine engaged with the scent. However, despite the compelling evidence stacked in its favour, printed ‘scratch and sniff’ ads aren’t in vogue with marketers. Some experts believe it’s because marketers think this form of print advertising carries too much of a price premium. Others argue that it’s being mis-sold as an advertising tool. So what’s the truth of the matter and how can brand owners ensure they enjoy the sweet smell of success when they launch a sensory marketing campaign? Wake up and smell the penguin Scratch and sniff adverts have been around for a long time – so long in fact that the commonly used phrase ‘scratch and sniff’ is now perceived to be outdated. In recent years it’s been usurped by phrases such as ‘rub and smell’ or ‘touch and smell’, which better reflects the technological advances in this area. “The terminology of ‘scratch and sniff’ is horrible,” says Simon Kempster, managing director at Hertfordshire-
“ It’s not just ‘good’ smells that increase engagement – awful smells can also have an impact on our buying decisions” Tim Schwier, sales manager at Follmann
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/ SENSES based Crystal CP. “Years ago it was called that because you had to scratch really hard to get any smell out, but microencapsulation technology has moved on so much that you now only need to touch a piece of print and it gives off a great smell.” In addition to printers creating bespoke, personalised smells for clients, there are a number of scent companies out there that provide a range of ready-made smells that marketers can employ. These range from the bizarre – penguin poo anyone? – through the more conventional coffee and chocolate scents, all the way to the downright rancid scents of rotting flesh and vomit. Interestingly, vile smells can be just as impactful as a marketing tool as the use
of pleasant aromas, according to Tim Schwier, sales manager at German print company Follmann, which specialises in scent printing. “Smells are directly connected to our limbic system,” explains Schwier. “The limbic system is the centre of our emotions and feelings, so as soon as a smell reaches our nose the limbic system connects this specific smell with an event in our life. As a result, it’s not just ‘good’ smells that increase engagement – awful smells can also have an impact on our buying decisions.” Schwier adds that pretty much any smell can be printed, although the bulk of the company’s scented work entails printing customised smells for FMCG groups such as P&G.
Kempster undertakes similar jobs for FMCG clients in the UK, although he occasionally gets to work on campaigns that are a little outside the ordinary. His quirkiest project to date was a rub and smell insert in culture magazine Garage that he produced in conjunction with scent expert Odette Toilette – a ‘purveyor of olfactory adventures’. The insert, which was called The Fifth Scent and won the Visual Impact award at the fragrance industry’s Jasmine Awards last year, featured scents that included the odour of a woman drowning and the smell of one million dollars. “The Fifth Scent is a great example of engaging readers by combining two different mediums – visual and scent – to get them to interact with the publication
Sense check Stimulating the other four senses through print
Sound Cambridge-based conductive ink pioneers Novalia recently created an interactive ‘musical’ vinyl album sleeve for DJ QBert’s album Extraterrestria. When users touch various parts of the album slipcover, which contains conductive ink, it activates individual loops and backbeats, allowing aspiring DJs to create their own music.
Sight “Scary”, “provocative”, “potentially polarising” – it’s fair to say that the reaction to the image on the cover of the February issue of Cosmopolitan UK garnered lots of column inches in media outlets across the world. But that was the point of showing a woman suffocating on the magazine’s plastic wrapping – to draw attention to the growing number of ‘honour killings’ in the UK.
Touch Lubriderm proved that touch can be just as effective as sight when it ran an ingenious ad for its moisturising and exfoliating cream. The ad showed a woman’s face before using Lubriderm, with the image printed on a rough textured paper. Readers were then invited to peel back the image to reveal a picture of the same woman’s face, this time printed on smooth, glossy paper to highlight the cream’s transformative effect. The advert also had a transformative effect on the brand’s bottom line, with sales increasing by an impressive 16%.
Taste In 2013, soft drinks brand Fanta claimed a world first when it created a ‘tasteable’ ad. The company invited users to tear a strip off its magazine advert and pop it in their mouth to enjoy “a burst of sunshine through a cool wisp of wind”. Unfortunately for Fanta, Volkswagen beat it to the punch – in 2011 the car giant produced an edible magazine ad that tasted like tarmac with the strapline ‘Eat the road’.
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in a completely different way,” explains Toilette. “And of course it’s the sort of project you can’t do digitally. With the Garage project you’re paying more attention to the artwork and layout because everyone’s got to lean in close to sample the scent.” Winning by a nose Equally as quirky was the rub and smell cannabis campaign that the Crimestoppers Trust ran in the UK last year. To coincide with Cannabis Cultivation Awareness Week, the charity wanted to come up with a unique way of engaging and enlisting members of the public to help them identify illegal cannabis farms in the UK. The problem was that many people don’t know what cannabis smells like, so Crimestoppers commissioned Dutch design agency The Edge Factory to create cards infused with the scent of cannabis that were distributed to members of the public. “The idea for the card came from the Netherlands, which is where the cards were designed and printed,” explains Lucy Reid, campaigns manager at Crimestoppers. “The Dutch government and police ran a campaign the year before to generate intelligence on the location of cannabis farms over there, since while the production of cannabis is illegal, smoking it is not. To measure the success of the campaign, we looked at the level of intelligence received relating to cannabis manufacture in relation to where the
“Scent is a brilliant tool because it's still rare enough to be a novelty. But you have to pay as much attention to the scent and the concept as the initial idea” Odette Toilette, scent expert
Your SCRATCH & SNIFF card to help recognise
--- THE SMELL OF ---
cannabis c u lt i vat i o n
flip me over...
(left and far left) Culture magazine Garage ran an insert that smelled of 'One million dollars', while (above) Crimestoppers helped the public identitfy the unique scent of cannabis farms by using a rub and smell print campaign.
cards were distributed.” The results were impressive, with police forces utilising the cards noticing a 33% increase in information reports about cannabis farms. One lead generated by the campaign saw a large cannabis farm in Hampshire shut down that had an estimated street value of more than £700,000. “Scratch and sniff also gets the sense of touch involved,” explains Professor Spence, “so you have to engage physically with it. At a fundamental level, the more senses you engage, the more stimulating and memorable the experience.” Aroma with a view At the moment, because there are so few examples of rub and smell campaigns around, those that do get off the ground enjoy even greater stand-out and even greater brand loyalty. “Scent is a brilliant tool because it’s still rare enough to be a novelty,” says Toilette. “But it has to be handled sensitively. I’d advise prioritising quality of fragrance in any project like this. Because of the novelty value the risk is gimmicky. Too many people plonk in a cheap ‘cut grass’ perfume or a dodgy scratch-and-sniff version of ‘the new smell of trainers’ and expect everyone to be delighted. But you have got to pay as much attention to the scent and the engagement around the concept as the initial idea.” “Why aren’t more people taking it up?” asks Simon Harrop, CEO of BrandSense, one of the world’s leading sensory branding agencies. “There’s a perception that it’s difficult to do, which is nonsense. As long as we can recreate the fragrance then we can print it. The brands that are going to be truly successful in the future will firstly be those who do something different and secondly those who engage multiple senses.” There’s even the possibility of a brand adding scent not just to an individual campaign, but to their logo – something ripe for possibilities according to Professor Spence. “Some companies now have a signature sound, jingle or audio logo,” he says, “but not many of them have a signature scent. Engaging with the sense of smell allows a company to stand out by providing more sensory touch points, which could work wonders for their brand.”
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LEAN BACK AND FEEL THE QUALITY
Luxury magazines are one of the biggest success stories in print, with titles such as Monocle, Wallpaper* and 032c delighting their dedicated readers and advertisers. Leaders in luxury Tyler BrulĂŠ, Tony Chambers and Joerg Koch line up to explain why high quality drives high revenues By Mark Hooper
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/ LUXURY
H
HOW CAN PRINT SURVIVE in the
face of the perfect storm of worldwide recession and digital alternatives? The luxury end of the magazine market may point the way forward. Magazines such as Wallpaper* and Monocle are extending their brands globally, increasing circulations and bringing in millions in ad revenue. “Four years ago, every breakfast meeting I had would revolve around ‘future plans for online’,” says Ashley Heath, owner and Editorial Director of high-end luxury fashion titles Arena Homme+ and POP. “And now, no one really mentions it. My clients all want to talk about the magazines and our special paper sections and special artist covers. It’s a total volte-face.” This isn’t a one-off experience. Tony Chambers, Editor-in-Chief of the 100,000-circulation Wallpaper*, agrees. “It’s not even talked about any more,” he says. “It’s just a given that our clients want their image and their communication to be in print as well as other mediums. Where there was a question mark over print five years ago, that has now completely gone.” Of course, that isn’t to say that digital strategies are neglected; it’s simply that the value of print is now no longer a point for debate. “Five years ago, the general mood was that print didn’t have much longer left,” continues Chambers. “Now it’s the opposite; it’s growing. Luxury brands want both print and digital of course – they need all the touch points. But the print side is more valuable than ever for luxury brands such as LVMH, the Kering Group and the watch brands. The feeling is that there’s more resonance around a still image.” The luxury gap If there’s a message to be garnered from the experiences of Heath and Chambers, it can be summed up in a neat, luxury magazine-style headline: ‘Lean back and feel the quality’. Luxury advertisers appreciate the deep cut-through achieved by the ‘lean back’ qualities of print, where the audience is fully engaged with the product. And, by the same token, better quality paper and unique treatments enhance this engagement. “It’s a shame so many big media organisations cheapened their magazines in terms of paper quality and issue sizes,” says Heath. “I guess they know their businesses, but they missed the online revolution and also were unwilling to take any risks by adapting and improving their print titles. Both POP and Arena Homme+ have thrived and we’ve been spending good money on special paper sections, artist posters, even on fun stickers.” This is a message that Tyler Brulé, Editor-in-Chief
(Far left) Tyler Brulé, Editor-inChief of Monocle, strikes a pose in his office, while (right) his magazine’s cover and fashion content speaks for itself
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of Monocle, echoes. “Show a commitment to paper – and why it’s very different and unique in the media landscape – and savvy advertisers will line up,” he says. And he’s not just talking theoretically. Brulé has built up a cross-media brand with an 80,000-circulation print magazine at its heart, a brand that was recently valued at £70 million. Brulé’s great insight was in predicting the way that the print advertising market was subtly shifting towards ‘native advertising’. His relationship with “Show a commitment advertisers is more like that between to paper – and why client and sponsor than the traditional it’s very different and page-rate magazine model. By inviting brands to sponsor categories and unique in the media landscape – and savvy sections, they benefit from superior content, while the magazine advertisers will line up” editorial gets the budget to invest in unique and Tyler Brulé, Editor-ininnovative printing techniques. By Chief of Monocle adopting this advertising strategy, Brulé coolly notes, “We have issues that clear the €2 million region.” And since a better quality printed product attracts more brands, everyone’s a winner. Chambers remarks how Karl Lagerfeld produced an “extortionately expensive” peel-off cover when acting as guest editor for an issue of Wallpaper*, a technique that Samsung later asked them to replicate for a back-page ad. “So something purely editorial and driven by creativity influences a commercial brand,” says Chambers. “And a brand that’s all about moving image and modernity and technology invested a considerable amount into what is a fetishistic print indulgence, which is amazing. Someone who sells TVs and phones appreciates more a fun thing you can do with sticky-back paper!” The happy medium It’s important to stress that in most of these cases, print is seen as a vital component within a cross-platform strategy. While he may claim that “I cannot convince myself – let alone the investors – that we can sustain www.printpower.eu | PRINT POWER _23
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“Print is more valuable than ever for luxury brands. The feeling is that there’s more resonance around a still image” Tony Chambers, Editorin-Chief of Wallpaper*
“For long, visual-driven stories, print can offer a business model and an immersive focused quality that digital cannot yet offer” Joerg Koch, Editorin-Chief of 032c
an iPad edition”, that doesn’t mean Brulé is antidigital. He is evidently very proud of the success of Monocle’s 24-hour online radio station. “Digital is a wonderful adjunct to what you can offer,” adds Chambers, “thanks to its immediacy and all those stories you can’t do in print due to deadlines and space limitations. There is a growing happy medium where they both satisfy different needs.” “I just don’t get why people always see it in either/ or dichotomies,” says Joerg Koch, Editor-in-Chief of Berlin-based magazine 032c; “it’s more about the ‘and’. You don’t need print for news any more, but for long, visual-driven stories, it can offer a business model and an immersive focused quality that digital cannot offer yet.” Put simply, it’s a simple case of form following function. As Chambers points out, “When print was more under threat, we had to think about what the USP of print is: its tactility and its possibilities; not just of ink on paper but die-cutting and special papers you can’t get with digital. It’s just common sense – you have to think, ‘OK, what can print offer that digital can’t?’” Scandinavian style For Daniel Björk, Editor-in-Chief of Swedish luxury lifestyle magazine Bon, it’s all about curation. “I don’t think the web has been able to come up with anything that rivals the physicality of the print medium,” he says. “There’s also a finite quality to a magazine that just isn’t there on the internet. You
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/ LUXURY don’t finish a website, but you can read a whole issue of a magazine.” While admitting that Sweden is a young luxury market in comparison to France or Italy, that gives them the advantage of “taking luxury and repositioning it in a more (Far left) A pair of wearable, everyday setting.” provocative covers The Scandinavian take on from Wallpaper* luxury is certainly having overseen by (left) a moment, as the outdoors Editor-in-Chief Tony Chambers. (Below aesthetic is translated into left) Berlin-based countless journals that style magazine celebrate the rugged outdoors 032c and (above) life while still attracting the high-end fashion title Pop advertising dollar. It also points to a trend we’re seeing among digital offerings: there is so much demand for our attention online that what gets the most cut-through is anything that’s able to act as a fi lter; to editorialise and make sense of the wealth of information and direct us to the quality stuff. “Curated content is going to become more and more important,” explains Björk. “To a certain extent a magazine is exactly that, and I can see an overlap between different platforms of curated content of which the print magazine is an integral part.” A booming market Once again, it’s simply a case of print playing to its strengths. “For print to not only survive but thrive, you have to treat it as product design as well as graphic design,” says Chambers. “We worry that we’re driving our print production people crazy, but they actually like it. Whether it’s the production department here or the production company, the specialist die-cutters and embossers, the printers themselves… If you push people and challenge them, it may give them a bit of a headache, but you can see the pride when it comes off.” Chambers speaks with genuine enthusiasm about a “real renaissance” in print. Brulé is going one step further, putting his money where his mouth is by releasing a specialist independent newsagent to support the mini-boom in luxury magazines. It all comes back to that line: ‘Feel the quality.’ To attract a discerning but time-poor audience to a print product in the face of the 24/7 digital onslaught, says Björk, you need to give them something “that is really great and interesting, even if long and serious. But if it’s not good enough, they’d rather click on a cat gif and have a laugh.”
Lux for life Four more European luxury magazines to watch Fantastic Man/ The Gentlewoman From the Netherlands publishing team of Gert Jonkers and Jop van Bennekom, these intelligent, drily witty magazines (aimed at the men’s and women’s market respectively) set a much-imitated template that has influenced countless luxury magazines – not to mention online retailers. fantasticman.com thegentlewoman.co.uk Dapper Dan An inspiring Greek title standing up against austerity, Dapper Dan is published twice a year with an international team based in Athens. Appropriately enough, the magazine’s tagline is: ‘For the man who doesn’t feel he should have to be like everybody else’. dapperdanmagazine.com A Magazine Curated By Demonstrating a unique approach to the luxury magazine market, AMCB is based in Paris and chooses one fashion designer to ‘guest curate’ an entire issue, spelling out their ethos in the form of the ultimate exclusive publication. amagazinecuratedby.com XXI This sophisticated French title features provocative long-form journalism dealing with global issues alongside stunning illustration to distance itself from the Euro-pack. So stylish, the editorial team celebrate every hundred new subscribers with a champagne toast. revue21.fr
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SUSTAINABILITY
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THE GROWTH INDUSTRY
Ever since the first tree was felled to make a newspaper, print has been linked with environmental impact. But once you go beyond the myths and look at the facts, you will find an entirely sustainable medium that creates more resources than it uses By Paul Simpson
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SUSTAINABILITY
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FEW YEARS AGO, a household FMCG brand
was keen to promote a global campaign to activate one of its most lucrative, highprofile sponsorships. A proposal for a glossy, informative brochure was rejected because the company’s marketing department decided that print was bad for the environment. The quest for a ‘greener’ alternative led the brand to produce a deluxe DVD, complete with exclusive footage and luxurious sleeve. The fact that this was a muddle-headed way to protect the environment was confirmed last May when a study suggested that if America ditched DVDs in favour of streaming services such as Netflix, the saving in carbon emissions could power 200,000 US households for a year10. If we are to fight climate change, the task facing us as governments, companies and individuals is not small. In essence, we need to transform an economy where human comfort, activity and growth are inextricably linked to emitting carbon into one that can flourish without relying on carbon. To meet that challenge, we have to look beyond prejudice and deal with the facts. “People draw an emotive conclusion that print is damaging the rainforests, as if they could stop a tree dying by not buying a magazine,” says Charles Jarrold, director general of the British Printing Industries Federation. “There are plenty of nuances when you discuss environmental issues, but in this case there aren’t nuances, just plain facts. Print and paper is not a major contributor to deforestation. In Europe, our paper – which accounts for the majority of the printing industry’s carbon emissions – comes from either recycled pulp or sustainably managed diversified forests.” The law of the land Indiscriminate, illegal logging of trees is damaging some rainforests, most notably in Indonesia, but 90% of the wood used by the European paper industry is grown within the European Union2, where such crimes are rare and 60% of it is thirdparty certified as having come from a well-managed forest2. What does well managed mean? For a start, as Ingrid Haglind, senior adviser on environmental policy at the Swedish Forest Industries Federation, points out,
it means having a forest that is growing, not shrinking. “We have no deforestation in Sweden,” she says. “Growth is larger than felling because the land owner is legally obliged to reforest after logging and secure the establishment of the new forest.” The law protects unproductive forests, stipulating that owners take care not to damage soil, protect biodiversity and set aside forests that have particular environmental value. Haglind also says that the methods currently used to turn wood into pulp and paper do significantly less environmental harm. “The emissions of carbon dioxide calculated per tonne of pulp and paper produced in Sweden have fallen by around 60% since 2005, largely because fossil fuels have been replaced by biofuels,” she explains. “Around 95% of the heat used to make pulp and paper is now based on bioenergy, and emissions
to air and water have decreased by more than 90% since the late 1970s.” Sweden’s progress has been spectacular but Jori Ringman-Beck, director of sustainability at the Confederation of European Paper Industries, says it’s not untypical. “Europe’s pulp and paper industry has decoupled its impact on the environment from the volume it produces,” he says. “We are developing new methods to judge the environmental footprint of a product through its whole life cycle in a pilot scheme with the European Commission and looking at breakthrough technologies that will help us become a low-carbon sector of the economy by 2050.” Better performance, lower impact This is not to say that paper – and therefore print – has no environmental impact, but its footprint needs to be seen in context. The World Technology Institute estimates that pulp, paper and print accounts for just 1% of the world’s greenhouse gas emissions. That would make it significantly less environmentally damaging than oil, aviation or IT. The way printers use paper is changing too. “One of the great drivers of change is accreditation for the ISO14000 standard,” says Jarrold. “Printers who have gone through this process have a much clearer, strategic view of their processes, the resources they use and where they are wasting them. This change doesn’t stop when a printer is accredited; it’s a continuous process that helps them reduce costs and improve their environmental performance.” Alliances such the Sustainable Green
“Print is made from a unique renewable material – wood. Most virgin fibres in Europe are used and reused many times before they end up as biofuel and replace fossil fuel” Ingrid Haglind, Swedish Forest Industries Federation
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Printing Partnership in the US and the move by some British firms, notably Anglia Print, to become carbon neutral are changing mindsets and spreading best practice. Some initiatives are straightforward, such as encouraging staff to cycle to work, using less energy and printing with vegetable-based inks, while others are less obvious. When Consolidated Printing built a new plant in Chicago, Illinois, it used recycled aluminium studs, carpeting and ceiling tiles, formaldehyde-free insulation, no VOC paint and replaced some of the toxic chemicals often used in print with fabric softener, restaurant grease and vinegar. Shrinking marketing budgets and increasing amounts of consumer data have, Jarrold says, already improved the industry’s environmental performance by cutting print runs and making it easier to target the right customer. Yet there’s more to be done. “Printers can still make progress by focusing on their processes,” he says. “And they need to because, increasingly, this is what their customers expect.” The last stage of print’s life cycle – after a product has been used – usually marks the start of a new cycle. For example, in 2013, the recycled content of British newspapers reached 83.5%, compared to 40% in 199611. Being ethical and informed Of course, being green is not a black and white issue but the record does suggest that print is not devastating the environment. When it comes to sustainability, obvious explanations are often wrong – as the great food mile furore proved years ago. For a time, the food industry was pilloried for such allegedly unsustainable practices as flying lamb from New Zealand to British supermarkets. You don’t hear so much about food miles now, possibly because one investigation found that lamb from New Zealand, which used less fertiliser and more renewable energy than the UK, generated only 25% of the CO2 emissions produced by British lamb12. Every business wants to make an ethical choice about the product they buy, but they need to make an informed choice – and the facts don’t support the conventional wisdom that digital
used and reused many times before they end up as biofuel and replace fossil fuel. Digital media is based on computers that contain rare substances and metals that are not renewable and recyclable.”
“Europe’s pulp and paper industry has decoupled its impact on the environment from the volume it produces” Jori Ringman-Beck, director of sustainability at the Confederation of European Paper Industries
media, because it doesn’t involve that nasty business of chopping down tress, is intrinsically greener. As Ringman-Beck says: “One of the most tempting dreams of the last few decades has been that of an ‘immaterial life’ where everything is digital, reducing our environmental footprint to zero. The technology lobby believed this dream but the environmental impact of the digital economy is becoming clearer. We already use 50% more energy to move bytes than we do to move planes.” The devices we use are part of the problem. Haglind says, “Print is made from a unique renewable material – wood. Most virgin fibres in Europe are
The always-on society Recycling is a monumental challenge because the makers of computers, tablets and smartphones are so adept at making us crave the next big thing that we don’t worry about the eventual fate of the last big thing. That is one reason why, in a typical year, we generate 20kg of e-waste for every person on the planet14. How we use the devices doesn’t help either. We can reduce the emissions from our car by not driving it, yet information technology – especially in the age of cloud computing – is always on. It’s like leaving your car engine running 24/7. And with a billion people now using the cloud13, the world will need to generate an enormous amount of electricity. Australia’s Centre for Energy Efficient Telecommunications recently estimated that if companies don’t change their ways, IT could consume 10% of the world’s energy by 2020. Digital behemoths such as Apple are investing to avert the danger; its data centres are now completely powered by renewable energy. Such investments will help but the truth is that we, as consumers, are part of the problem, not the solution. The networks and technologies that, through the magic of wi-fi, ensure we can Tweet, email and browse the web whenever and wherever we want, account for 90% of the energy consumed by the wireless cloud15. If this is to change, the IT industry might need to discover its own breakthrough technology. Media buyers and marketers who insist on choosing between print and digital on environmental grounds will have to sweat the detail. The answer may well vary from case to case. The lifecycle of a magazine is, at least, likely to be certified from cradle to grave. The digital sector can’t, as yet, be as definite about its own product life cycles. There are many better ways to fight climate change than not using print. As Ringman-Beck says: “From an environmental point of view, creating a paperless economy is as important as reorganising the deckchairs on the Titanic.” www.printpower.eu | PRINT POWER _29
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Since 1990, the CO2 emissions per tonne of product made by the European paper industry has fallen by 45% 2
In the UK, 82% of magazines are recycled after being read7
92% of the water used by Europe’s paper makers is returned to the environment in good condition2
The greenhouse gas emissions produced by a single newspaper during its entire lifecycle is equivalent to a car journey of 1km (0.62 miles)5
By combining their distribution programmes, News UK and the Telegraph Group have saved 15,000 van journeys a year and saved 1.2 million miles of driving 6
Fact!
82% of the European paper industry’s raw materials come from Europe2 In the European Union, the area covered by forest increases by the equivalent of 3,403 football pitches every year3 55% of the energy used by Europe’s paper makers is bioenergy 2
It is estimated that at least 94 UK printers have won ISO14000 accreditation, which commits companies to continuously monitor and improve their environmental performance 4
An Argentinian study found that a typical item of direct mail had a carbon footprint of 28.7g, compared to 19g for an email with a fourpage Microsoft Word attachment. Yet if that email is printed, the footprint could soar to 44g9
National Geographic magazine estimates that a year’s worth of issues has a carbon footprint of 9.84kg, equivalent to burning a gallon of petrol8
Pulp, paper and print accounts for just 1% of the world’s greenhouse gas emissions, making it one of the lowestemitting industrial sectors1
Sources 1 World Resources Institute, 2013 2 Confederation of European Paper Industries 3 Food and Agricultural Organisation (FAO), 2010 4 Verdigris Project 5 VTT report, 2011
6 News UK, interview (businessgreen.com/bg/ interview/2376118/how-rupertmurdochs-news-uk-is-quietlyleading-the-media-fight-againstclimate-change) 7 PPA
8 National Geographic (environment.nationalgeographic. com/environment/nationalgeographic-sustainability/ magazine-life-cycle-assessment) 9 Keith Messer LinkedIn, University of Belgrano Argentina
10 IOP Science Journal 11 News Media Association 12 New Yorker magazine 13 Time magazine 14 National Center for Electronics Recycling (US) 15 CEET, Australia
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MR MAGAZINE
\ if there was ever a man to whom
newsagents should roll out the red carpet when they see him approaching, it’s a middle-aged, moustachioed LebaneseAmerican called Samir Husni. That’s Mr Magazine™ to you. Dr Husni is Professor of Journalism at the University of Mississippi and author of Magazine Publishing In The 21st Century and Launch Your Own Magazine: A Guide To Succeeding In Today’s Market Place. Forbes magazine called him “America’s leading magazine expert”, but as well as being an indemand consultant for publishers on both sides of the Atlantic, he can justifiably claim to be the world’s number one magazine evangelist. But despite experiencing the advance of digital at close quarters, Dr Husni is a major advocate of print – not just as a reader-friendly medium, but one where advertising and marketing messages are most effective. “Advertising has yet to find a better environment in which to engage with consumers than in the pages of a print magazine,” he explains from behind a desk that is, as usual, piled high
with scores of the many hundreds of magazines he collects every week. For Husni, there’s no substitute for print when it comes to connecting with consumers, and he argues that advertising is more favourably regarded and accepted as ‘part of the experience’ than in any other media. Furthermore, he believes passionately that doommongering pundits only have to look at history to see that reports of print’s death are, as Mark Twain might have put it, highly exaggerated. “Nobody talks as much as we in the magazine industry do about our own demise. But print will endure, just as radio and TV has. Print ad revenues bypassed radio in 1935 and television bypassed radio in 1955, yet radio is still relevant for consumers and advertisers.” Something of a purist when it comes to the format, he’s currently seeking to trademark his motto: “If it’s not ink on paper, it’s not a magazine.” The birth of an obsession Husni speaks with the fervour and eloquence of a preacher, but he’s also a collector and self-confessed addict, a magazine junkie who first fell in love with the medium growing up in Tripoli, Lebanon, in the 1960s. “When I was nine years old, the Superman comic came out in Lebanon,” he says. “I went with two friends and
bought the first issue, and while they fell in love with his mighty powers, I fell in love with the magazine. I thought, ‘Wow, I have this whole story in my hands! I can read it at my own pace, I can flip the pages back and forth...’ And something happened; I think that day my body started pumping ink instead of blood!” Husni soon began designing and editing his own magazines at home, and later, after going to journalism school in Lebanon, won a scholarship to do a PhD in the US. But shortly after he got over his excitement at the sheer variety of magazines available there, he found himself puzzled. “I was stunned by the lack of study into the medium,” he says. “So eventually I persuaded the University of Missouri to fund my research into what makes a magazine successful.” The resulting studies made Husni’s name worldwide and led to the first edition of the acclaimed Samir Husni’s Guide To New Magazines in 1986. The 30th edition is due out this year, cataloguing every new print magazine launch in the US from 2014. His influence on the magazine industry is legendary. As well as regularly travelling to Europe to speak at conferences and advise publishers, marketers and advertisers, he has also consulted editorial, advertising and sales staff of major magazine
THE DOCTOR WILL SEE YOU NOW
Professor of Journalism, author, consultant and curator of over 28,000 different titles, Dr Samir Husni is one of the world’s most influential voices in global publishing, advising major publishing houses across the globe on their editorial and advertising strategies. When he talks, the magazine industry listens — By Johnny Sharp
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publishers including Hearst, Hachette Filipacchi, Reader’s Digest and National Geographic, as well as Sweden’s Bonnier Group and the Sanoma group in Finland, The Netherlands, Belgium and the Czech Republic. More recently he established the Magazine Innovation Centre at the University of Mississippi, where he curates a 28,000-strong collection of first editions. If that wasn’t enough, he’s also the President and CEO of Magazine Consulting & Research, a company that specialises in new magazine launches, the repositioning of established magazines, and packaging publications for better sales and presentations. Leading into the light Increasingly, Dr Husni is finding that the mood of seemingly terminal pessimism that engulfed much of print publishing five years ago has lifted, and is in fact turning into cautious optimism. “It’s the same in Europe as the US,” he says. “In 2008, publishers were terrified. The economy had boomed and busted, and new technology was booming, so we froze – the only light we saw at the end of the tunnel was the train coming!” Dr Husni points to the trend for publishers to invest heavily in tablet formats, “hoping that the iPad would be their salvation.” Yet he points out that digital still counts for less than
10% of the magazine business, making specific reference to the recent trend for digital companies “who need to invest in something they know is profitable” going back to print, with brands such as Net-a-Porter, Airbnb, Sneaker News and Allrecipes.com launching successful print magazines. “Now the prophets of doom and gloom have all replaced the word ‘dead’ with ‘declining’,” he says. “And I give it five years for them to apologise and admit that the power of print is still strong.” Dr Husni argues that digital media is simply doing what other media has done before – adding to other platforms rather than replacing them. And if the industry can understand that, they can also see the way forward. “When TV came out they said radio would die. And when the VCR came out people said everyone would stop going to the cinema. But they are completely different experiences. And that’s the key: a magazine is much more than content – it’s about the experience. And that’s what our industry needs to focus on.” The X factor For Dr Husni, another central quality of great magazines is the same factor that kept him coming back as a childhood comic enthusiast. “The number one asset is the addictive factor,” he says. He argues that the best editors and
publishers understand the importance of experience-making, and that experience has to become addictive to the point where you seek out the next issue. He also points to collectability as a key strength of any magazine, arguing that “humans are creatures of habit.” For Husni, these are just some of the ways advertisers can be attracted to magazines and will continue to buy into it, benefit from it, and in actual fact, positively enhance it. “Have you ever heard anybody say, ‘The minute I get my favourite magazine I tear off all the ad pages’?” he asks. “Yet if I watch television I watch it on delay so I can fast forward through the ads! That’s not the case with magazines – advertising is part of the real estate. Some people even read the adverts first. And as for ads on other platforms… My mobile phone, tablet or internet? Stop bothering me! Stop popping in my face! “A magazine also engenders trust and loyalty in its readers,” he continues, clearly on a roll. “If I get an email or a text advert for a Chanel purse, I immediately wonder ‘Are they trying to scam me?’ But if I see it in Elle magazine or Vogue, then I immediately think ‘That’s a genuine, beautiful Chanel purse...’” Evolution not revolution While Dr Husni is as passionate an advocate of print’s virtues as you’ll find,
“ Online or mobile magazines are not real. It’s only real if you can touch it, feel it, throw it across the room. I tell my students: until you are happy with a virtual boyfriend or girlfriend, virtual reality will never compete” Dr Samir Husni
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/ MR MAGAZINE he is realistic enough to know that the medium must evolve. But as far as he’s concerned, that simply means doing what it’s always done. “Over the next 10 years, we’re going to see higher cover prices and more highend experiences in magazines,” he says. “But we are also going to continue to see the diversity of print. At one end of the market you’ll have extremely collectable, very expensive, unique magazines that are maybe 1,000 print run, very limited edition. But at the other end you’ll still have the mass market magazines, only they will have adjust to what the audience wants and provide a curated experience for the reader that they can’t get on other platforms.” In case you were about to argue that a magazine can exist perfectly well online or on a mobile device, Dr Husni is here to
set you straight. “It’s not the same, because it’s not real. It’s only real if you can touch it, feel it, throw it across the room. I tell my students: until you are happy with a virtual boyfriend or girlfriend, virtual reality will never compete. “I pay £11.99 for the print edition of British GQ as it’s imported from overseas, compared to £3.99 for the iPad edition. Nobody comes to my house and says, ‘Oh, can I look at your iPad so I can read your copy of GQ?’ But they pick it up without even asking me, because it’s on my coffee table, it looks beautiful, it’s something that draws you in.” Despite now being 60 years old, Dr Husni has no plans to retire, which is just as well since he also admits to a serious outlay at the newsstand. “I recently did my tax return and found
that I spend around $28,000 buying magazines in a year. I probably also receive the equivalent of that again free from publishers and other outlets. So I estimate that I consume 600-700 magazines a month.” With the Magazine Innovation Centre’s collection of first editions growing by the week – with help from its curator’s insatiable thirst for new titles – he’s also creating a library from which future generations of journalism students can learn. But while some of those magazines may now be museum pieces, Samir Husni would be the first to point out that the printing press won’t be going the same way for a long time to come. + To find out more about Dr Samir Husni and read his influential Mr Magazine blog, go to www.mrmagazine.com
Doctor’s orders Mr Magazine’s five favourite reads
British GQ
Newsweek
Garage Magazine
Wylde Magazine
It began life in the US, but Dr Husni prefers Dylan Jones’s UK version of the Gentlemen’s Quarterly: “I like a magazine to have a mix of long and short journalism. In GQ you find in-depth articles about Isis or Al Qaeda, then the most beautiful women or handsome men, a profile on a great actor or actress, then the opinions and the style. It’s got bits you can dip into and pieces you can really get stuck into reading.” gq-magazine.co.uk
Back from the dead a�ter closing their print edition in 2012, Dr Husni is a big fan. “I really like the relaunched Newsweek. They charge more for it now but they have produced something worth paying for. The recent cover story they did on The Bible [‘So Misunderstood It’s A Sin’, February 2015] was brilliant. I don’t think I’ve read an in-depth article either in religious magazines or secular magazines quite like that.” newsweek.com
The glossy bi-annual style bible created by Russian socialite Dasha Zhukova has attracted many a fan in the art and fashion world, and Mr Magazine is on board too. “It’s a £10 cover price, but look at the quality of the photography, how beautiful it looks – and I love the paper stock! If you create a magazine on tissue paper then you’re telling me it’s disposable. There’s nothing more disposable than digital. Print should be collectable, not disposable.” garagemagazine. bigcartel.com
This London-based fashion magazine goes supersized – A3 to be precise. “This is another magazine that has played with the expectations of what a magazine should be. Why not go bigger? It makes it a really immersive experience, it makes the pictures look incredible and reflects the fact that they are about big, bold statements, originality and creativity.” wyldemag.co.uk
Exhibition Claiming to be “at the cross-section of luxury, contemporary culture and art”, this outsized Parisbased mag has a rather startling cover price of €42. “This is almost the size of a broadsheet newspaper and it looks amazing. Reading something broadsheet-sized, it completely engulfs you. There was a survey recently where a town was asked if they would like their local paper to be a broadsheet or a tabloid, and they said: ‘We want a broadsheet; we want to feel like a big town. Tabloids are small, for small towns!’” exhibition-magazine.com
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INFLIGHT MAGAZINES
\
The mile-high club The inflight magazine has been soothing nerves across the world for over half a century. Now it gives airlines and advertising brands unique access to a captive audience of millions every year. So please stow your tray table, turn off all electronic devices and relax BY JOHN REYNOLDS
for the modern traveler from scandinavian airlines | january 2015
1
#157 #158 A M A G A Z I N E F O R T H E G E T- U P- A N D - G O G E N E R AT I O N
henrik Vibskov, fashion designer,
drummer and 36_ PRINT POWER | www.printpower.eu troublemaker
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of you How many ly? are there real FREE TO TAKE HOME
ea
for the modern traveler from scandinavian
‘'I try not to analyze what I’m doing too much, because that might ruin it’’
FEBRUARY 2015
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INFLIGHT MAGAZINES
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air travel has changed a lot over the past 50 years. Back in the 1960s, during the ‘Golden Age’ of flying, passengers reclined in seats with plentiful leg room, smoking cigars as statuesque stewardesses waited on them hand and foot. Flying then was deemed a luxury. Today, air travel is a lot cheaper, leg room is nonexistent, smoking is banned and cabin crew have replaced stewardesses. However, throughout this revolution in air travel, one constant that has remained is the inflight magazine, a trusty publication whose informative words and images of exotic resorts have soothed many nervous and jittery souls. “There is a great power to print, especially as you are on a plane for a long time,” says Abi Comber, head of brand and marketing at British Airways. “The inflight magazine offers passengers a distraction, as well as information they wouldn’t find in their regular read.” For marketers, inflight magazines boast a multitude of benefits, chiefly that they help boost brand loyalty and sell new product. Meanwhile, advertisers love them for the type of reader they attract: the ABC1s who give the publications their undivided attention for hours. To fly, to read The inflight magazine has been around almost as long as the global airline industry. It was Pan American World Airways that published the first inflight magazine, Clipper, in 1956. This was followed by a rush of copycats including KLM’s Holland Herald Magazine, now nearly 50 years old and the longestrunning inflight magazine. Today, flying is as commonplace as catching a train. In total, around 3.3 billion people travelled by air in 2014 (ITA) and industry figures suggest that 75% of flyers read inflight magazines, which are on around 90% of all flights. This would mean an estimated 2.15
Solebo, brand executive at EasyJet. “We want to inspire, advise, share and entertain, and it’s one of the few marketing channels we own that enables us to do all this.”
“ Our magazine is a strong engagement and sales tool for us so we can really build a community around travel” Stefan Hedelius, vice president brand and marketing for SAS
billion people read inflight magazines in 2014 – an astounding circulation in anyone’s book. Today there are around 150 publications published worldwide, many of them produced by specialist publishers. These vary from budget airline and package tour titles such as EasyJet Traveller (read by over four million people worldwide) and Thomas Cook’s Travel magazine to the more premium and business class titles such as United Airlines’ Hemispheres and BA’s Business Life (600,000 circulation). Flick through an inflight magazine today and invariably your eyes will feast on a vibrant mix of travel, food, fashion and entertainment content. This is interspersed with adverts, a menu card, pointers to the duty free on offer and other products such as loyalty schemes and other global routes. “The inflight magazine is our opportunity to give customers some really valuable content at a key stage in their journey with us,” says Natalie
The ROI in the sky There’s little doubt that the quality of inflight titles has improved massively in recent times. This quality is down to airlines seeing the value and ROI in their titles and investing heavily, which has led to premium content boosted by celebrity writers such as Michael Palin and John Simpson, as well as photographers such as Rankin. Flick through the average inflight magazine and you’re faced with content that wouldn’t be out of place in an upmarket newsstand title. Actors, authors and film stars enthuse about their favourite holiday destinations, while leading travel journalists advise on the best hotels and attractions in the world’s most exciting cities. And it works: American Airline’s recent relaunch of American Way, which featured the Foo Fighters on the cover, amassed nearly 10,000 likes on Facebook, with one passenger commenting: “I suddenly have the urge to travel somewhere, anywhere on American Airlines”. Also, British Airways was recently forced to re-stock 10,000 copies of an edition of BA High Life onto its planes, as fans of the issue’s cover star, Benedict Cumberbatch, left the aircraft carrying the magazine. As air travel has become more popular, content has also become tailored to the different demographics, whether it be the business crowd or families on holiday. “The content of our magazines is tailored around the time that you have on the plane and what you might be doing,” explains BA’s Abi Comber. “With Business Life, they are short, snappy articles – soundbites for the mindset of the business traveller – whereas High
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Come fly with us Four inflight magazines clocking up the air miles Ronda Spain’s largest airline, Iberia, carries over 17m passengers a year and its inflight title Ronda is distributed on all national and international flights. Written in both English and Spanish, the magazine covers fashion, cinema, travelling and leisure.
ENERO JANUARY 2015 HOLA MADRID
RONDA MAD
Renaissance Renaissance is an upscale title for TransAsia, which taps into the sense of adventure of the TransAsia passenger. Produced by publisher Ink, who also produce the airline’s Duty Free magazine, the title is read by over 583,000 passengers every month.
啟程
renaıssance 夢想 探索 發現
DREAM
●
EXPLORE
●
DISCOVER
浩瀚長江與 武漢和樂共生 Bridging people through time on the Yangtze in Wuhan
HOLA HELLO ENERO JANUARY
活化台南老建築 轉身喜見新風華
MADRID 2015
澳門新口岸 鋒芒乍現
The nostalgic building projects giving Tainan’s interiors a new lease of life
THE MAGAZINE OF TRANSASIA SEPTEMBER-OCTOBER 2014
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SPIRIT
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BRUSSELS AIRLINES' INTERCONTINENTAL NETWORK INFLIGHT MAGAZINE JANUARY/FEBRUARY 2015
SHORE EXCURSION
B.SPIRIT BRUSSELS AIRLINES’ INTERCONTINENTAL NETWORK INFLIGHT MAGAZINE JANUARY/FEBRUARY 2015
The Holland Herald Launched in 1966, KLM’s magazine is not only the oldest inflight title in the world, but also the largest English-language magazine in the Netherlands. The magazine has an exciting theme for every month and its articles spans lifestyle, gadgets and fascinating facts and figures.
001 PORTADA PRUEBA4.indd 001
All that glitters: the unsung attractions of Macau’s golden-hued Outer Harbour
IN SEARCH OF THE SOUL OF THE GAMBIAN COASTLINE
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b.spirit Brussels Airlines is the largest Belgian airline and its inflight magazine is a bi-monthly title for all passengers of long-haul flights. The title boasts in-depth business coverage, as well as film and leisure features.
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INFLIGHT MAGAZINES
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Life magazine is for ‘Generation Curious’. These are the people out there travelling the world, so we try and feed their hunger with information.” A captive audience For airline marketers, the magazines are manna from heaven, as not only do they benefit from minimal marketing and distribution costs but crucially allow them to sell new products and shore up affi nity with the brand. “It’s one of our only channels where we can talk to a captive audience of customers with a long dwell time,” says EasyJet’s Natalie Solebo. “So it’s a key tool for us.” Similarly, Stefan Hedelius, vice president brand and marketing for Scandinavian flag carrier SAS, points out that its recently launched inflight magazine, Scandinavian Traveler, helps SAS establish a “community” feel with its 70,000 readers. “It’s a strong engagement and sales tool for us so we can really build a community around travel,” he says, pointing to how the magazine can be downloaded in multiple formats and its content linked to its YouTube channel. For Hedelius, one key virtue of the 65,000-circulation magazine is that its content – for example, a feature on a freestyle skier – can be repurposed into other marketing channels. BA follows a similar edict, rewiring its magazine content across different platforms. “We have so much great content in the magazine that we try to use it across our social feeds,” say Abi Comber. “And we would also use the imagery in our advertising.” For example, content from High Life features on the website BA.com, offering travel tips for those not on board every fl ight. Likewise, advertisers and commercial partners can help with contributing content to the magazine, giving it a real community feel. Like the content, the quality of the ads
“High Life magazine is for ‘Generation Curious’. These are the people out there travelling the world, so we try and feed their hunger with information” Abi Comber, head of brand and marketing at British Airways
in airline magazines has also improved and enjoys some of the best demographics in publishing. For example, readers of United Airlines’ Hemispheres have an average household income of £85,000 – nearly double that of Vogue readers. Hedelius says that SAS has a wide range of advertising brands enticed by the prospect of hitting the eyeballs of its well-to-do customers. “Our strongest customer group are people that travel a little more than average,” he says. “They have a higher education and spend more. So we attract restaurant chains, brands connected to travel such as American Express, hotels and fashion brands.” The elephant in the room Testament to the durability of inflight magazines is how it’s held up against the challenge of fi lm, TV and multimedia devices. Many long-haul flights now offer onboard wi-fi access – a trend that’s likely to roll out across all flights over time. Hedelius says that the infl ight magazine
is evolving to meet this challenge. “I don’t see it as a magazine now. I rather look at it as content since the magazine can also be downloaded and viewed on different platforms. When I fly, I have a mix of traditional newspapers and magazines and some content downloaded. We are in that era where people are mixing.” Another challenge is escaping the cull of airline cost reductions as they look to cut fuel duty – every airline’s single biggest cost. United Arab Emirates carrier Emirates has axed its infl ight magazine to save money while United Airlines and American Airlines have introduced ‘paperless cockpits’ to keep fuel costs down. But for many carriers, the advantages of inflight magazines outweigh the expense. “Our magazines still represents a valuable asset for BA, despite the challenges,” says BA’s Abi Comber. “What we bring to the party is trusted entertainment. It’s news, information and trends people don’t find from their own sources that they download and bring with them. They want to know what we’ve got to say on the subject.” The plane facts There’s little doubt that infl ight magazines are in rude health, and in this digital-driven age represent a beacon of trust and reliability. Wi-fi access on flights can be sketchy, while using electronic devices is still banned on take off and landing. This is why many passengers prefer the option of fl icking through a trusted print magazine, where they can glean crucial travel information on their destination of choice. BA and SAS have recently revamped their magazines, underscoring their belief that they have a strong future, while the majority of the world’s carriers continue to invest in their own titles. As airlines plot more routes and more flights, it’s clear that there are many more miles left in the inflight magazine.
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The Centre of Excellence for Doordrop Media in 23 European Countries • Doordrop Media can reach targeted audiences across 182 million households • Doordrop Media plays a key role in the customer journey from offline to online • Doordrop Media could be the most effective customer acquisition channel in your marketing mix
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PAUL KEENAN
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“ PRINT IS POWERFUL. PRINT EVOKES EMOTIONS. IT MOVES PEOPLE” IN A RARE AND EXCLUSIVE INTERVIEW, PAUL KEENAN, THE CEO OF BAUER MEDIA UK, EXPLORES THE POWER OF PRINT MAGAZINES AND HOW THEY CREATE THE IDEAL ENVIRONMENT FOR READERS AND ADVERTISERS BY SAM UPTON
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A PAUL KEENAN
ASK ANYONE EVEN remotely interested in magazines, anywhere in Europe, to name their top five titles and chances are that list will be dominated by magazines produced by the Bauer Media Group. With its headquarters in Germany, the company manages a portfolio of more than 570 magazines, over 300 digital products and 50 radio and TV stations, making it Europe’s largest privately owned publishing group. Having bought Emap’s consumer and specialist magazines, plus their radio, TV, online and digital businesses in 2008, Bauer Media is also the UK’s largest consumer magazine publishing company, reaching over 22 million consumers every week through a huge variety of channels for magazine brands such as FHM, Closer, Zoo, Grazia and Heat. But while digital, radio and TV are important for the future of Bauer Media, print continues to be a vital element of their success. “Being world-class in print and creating product which is different and better than its print rivals continues
to be mission-critical,” says Paul Keenan, chief executive of Bauer Media. “Print occupies a critical role in a suite of magazine media and still feels to us to be a unique and valuable experience.” Magazine man Paul Keenan is currently speaking from Bauer’s head office in Hamburg. He’s there at the same time as Bauer’s German launch of People magazine. As the top magazine brand in the US with over 3.5 million subscribers, People is a huge print success story, and Bauer have affirmed their faith in print by licensing the publication from its publishers Time Inc. “It’s a beautiful, glossy weekly product with fantastic pictures and editorial, as well as beautiful advertising,” enthuses Keenan. “It’s one of Europe’s biggest launches of 2015.” Spend some time in Keenan’s company and it becomes very clear, very quickly that he’s a big fan of print, both as a leading figure within the media industry and a reader. Since starting out as a journalist on The Groundsman, a title dedicated to the people who tend the nation’s cricket pitches, Keenan has remained close to magazines, and now has a deep understanding of their attraction to the consumer, the advertiser and the economy.
“Magazines take the consumer into a world where they are entertained and enriched, informed and inspired,” he says. “Magazines continue to touch many many people. They touch them emotionally, intellectually, culturally and influence their behaviour. In the UK, magazines are vital to the economy. On average, they are read for almost an hour and picked up five times. They reach over 38 million adults, which is nearly 73% of the population, so they are phenomenally important.” The personal touch Of course, like any consumer publisher, the success of Bauer Media’s print portfolio stands or falls on the size of its ad revenues. Whether it’s music monthlies Q and Mojo, women’s weekly Grazia, fi lm monthly Empire, or any of the 50-plus magazines in its stable, the ability for brands to fit seamlessly with the editorial and become an integral part of an issue is vital. “Magazines are personal,” says Keenan. “You know, 68% of magazine reading is done alone, so your relationship with a magazine is extremely intimate, and that creates a very powerful environment for advertisers. Through research, we know that the advertising in magazines is conclusively welcomed and hospitable.
“PRINT OCCUPIES A CRITICAL ROLE IN A SUITE OF MAGAZINE MEDIA AND STILL FEELS TO US TO BE A UNIQUE AND VALUABLE EXPERIENCE”
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So magazines offer an hospitable and effective advertising environment.” Innovation is also key. Faced with more and more advertising platforms in more and more media, brands are looking towards print to offer them more than a static single-page ad. They want broad creative ideas that translate to other Bauer Media magazines, advertorials that sit easily within editorial, and integration with online, social, radio and TV platforms. A campaign for Russian Standard Vodka designed to reach new customers was run across several Bauer brands, including magazines such as Empire, Grazia and Q, radio station Kiss, and TV stations Q Kiss and 4Music, as well as a bespoke microsite. Each campaign target was exceeded, reaching 1.5m listeners, 1.2m readers, and a 50% over-delivery on the TV activity, plus 18,000 visitors to the microsite. “Magazine brands that deliver to both the head and the heart drive action,” says Keenan. “Whatever the platform, they drive behaviour, they change behaviour, they lead to audiences doing things: consuming product, making purchasing decisions, changing their lifestyle.” The heart of a brand Despite Paul Keenan’s instinctive love
for print, his enthusiasm for the medium isn’t just based on gut feeling. Bauer Media conduct regular research into all their titles and brands, ensuring they deliver entertainment for the reader and revenue for the advertiser. One recent study aimed to understand the role of print in a multiplatform environment for both readers and advertisers. A single magazine brand – Heat – was chosen to discover its readers’ reactions to content and advertising across multiple platforms. Launched in 1999, Heat is just one of Bauer Media’s success stories, with the print magazine, website, radio station, TV station, YouTube channel, app, plus a wide variety of social media sites, all combining to give it a gross audience of 4.8 million. Using neuroscience investigation techniques, the research found that the print magazine elicits strong attention and emotional intensity – the perfect combination for effective advertising. The magazine also primes response to linked radio and online advertising, so print is an even more powerful tool when used in combination with other platforms within the brand. “What we saw very clearly was that when users or audiences were exposed to content across multiple platforms with
the magazine at the heart, it produces a stronger impact than that elicited by a similar range of platforms without a common branding element,” explains Keenan. “Magazines deliver something quite phenomenal in terms of focus, relevance and serendipity. A magazine has the opportunity and the ability to delight and surprise you. And delight and surprise tend to be positively connected.” We have lift-off With research such as this, it’s difficult to imagine Bauer Media pulling back from print. As one of the driving forces behind the creation of Magnetic, the UK’s new marketing agency for magazine media, the publisher has made giant strides towards presenting magazines in a new and compelling way to advertisers. “Magazine media are growing in power and influence,” explains Keenan, “and the Bauer Group in the UK and in Europe will continue to invest in print significantly. The single most important thing we’ve done as an industry in the last decade is come together to make a much more powerful statement on behalf of magazine media. Print is powerful. Print evokes emotions. It moves people. Print reflects and develops the cultural zeitgeist, and we should make sure everyone knows about it.” Paul Keenan surveys five of Bauer Media’s best-loved titles: (l-r) celebrity gossip mag Closer, music monthly Q, women’s fashion title Grazia, classic rock mag Mojo, and film bible Empire
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PRINT + DIGITAL
\
BETTER TOGETHER Print and digital is a marriage made in media heaven, with each one able to increase the effectiveness of the other. But how can print get closer to digital and move the customer smoothly between the two? Five of Europe’s leading figures in the media industry toast the happy couple By David Benady
print advertising is poised
for a renaissance as publishers find new ways of monetising the world of digital interactivity. Technologies such as NFC, Augmented Reality and QR Codes allow readers to use print as a gateway to digital experiences – just point your mobile at the page and a multimedia experience will open up before your eyes (and ears). Meanwhile, the digital revolution is giving advertisers greater choice. They can use mobile and online for brand activation campaigns and
special offers, and turn to premium print ads in colour magazines and newspapers for successful brandbuilding campaigns. We asked five senior figures from the world of media to discuss what lies around the corner for print advertising and to examine how publishers will benefit from the explosion of digital media. Over to them…
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bacon + eggs
thelma + louise
holmes + watson
horse + carriage
sauna + sisu
vin rouge + fromage
spaghetti + pommodoro
fred + wilma
lennon + mccartney
h채nsel+ gretel
laurel + hardy
max + moritz
batman + robin
romeo + juliet
coffee + croissant
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PRINT + DIGITAL
\ “We should think of print as a gateway to getting people to interact with printed content digitally”
Juan Señor
Juan Señor, partner at Innovation Media Consulting Group and Visiting Fellow at Oxford University
Near Field Communications (NFC) technology is the latest area that printed publications are looking towards as they aim to show that print can act as a gateway to interactivity. NFC works at close distances and allows the exchange of electronic information, as in tap-to- pay services for credit cards. Music magazine Billboard Brasil recently published a special edition with an NFC sticker on the front cover. When readers tapped their mobile phones on the stickers they received a downloaded playlist with featured musicians and groups. Before this trial, digital interactivity with print meant downloading apps or going through complicated procedures with QR Codes. But with NFC, it becomes much easier. The big picture is that we should think of print as a gateway to getting people to interact with printed content digitally. NFC is robust and fantastically versatile. You could instantly download London Fashion Week’s top 100 designs or a collection of the top 10 best baseball players without having to click “We are just seeing through to a website. It is fast and efficient. However, it is not some of the first widespread at the moment. experiments but We are just seeing some of we’ll definitely see the first experiments but more of NFC in we’ll definitely see more of years to come” it in years to come.
“Published media bring the values of trust and credibility, which are much needed online” Simon Redican, chief executive of the UK’s National Readership Survey Simon Redican
It is time to redefine the market. It’s not about choosing between print, online, TV, radio or digital. If you think there is an online sector that you spend money
Magazine publishers are finding new ways to engage with the audience through online, mobile and video. We are increasingly seeing legacy magazine companies selling media solutions incorporating print and digital and promoting native advertising. But the printed brand is the legacy and tradition that gives the brand its strength. You can read all the fashion blogs you want, but when Vogue says
something about fashion, it really means something. What the magazines have are brands and content that are trusted by the consumer, which leads to high levels of engagement. We have lots of evidence showing that readers who consume a publication across several platforms are more engaged and react more positively to ads. So we are seeing more digital sites launching print titles. The online fashion retailer Net-aPorter has launched a glossy newsstand title, Porter, which rivals the likes of Vogue. Porter has ‘shop-able content’, so if you scan any piece of clothing or ad in the magazine with your mobile phone, you can either buy it directly from Net-a-Porter or the app will advise you on how you can buy it. In the US, women’s publisher Meredith launched a print title to support its user-generated website Allrecipes.com. Print is part of the mix you take to advertisers. Will they buy less of the white space? Possibly, but remember that five years ago everybody had written off vinyl records, but they have gone through a huge resurgence. What everybody loves is innovation, so that is what publishers have to provide.
in, you aren’t thinking clearly because there isn’t any such thing – everything is online. Advertisers can look at the market in terms of those who produce content and aggregators and utilities who distribute other people’s content. Published media bring the values of trust and credibility, which are much needed online. Advertising in the context of recognisable brands with strong personalities, such as newsbrands and magazines, is
more powerful than advertising in utilities or aggregators. But tablets and mobile have added a whole new nuance to how you can plan your advertising. What the internet and digital have added is a richer platform for publishers to offer advertisers. It makes creative and media agencies think more carefully about what they are trying to do with their ads. Brands are looking for a long-term brandbuilding proposition or shortterm brand activation. One of the opportunities for
Chris Llewellyn
“The printed brand is the legacy and tradition that gives the brand its strength” Chris Llewellyn, president and CEO of worldwide magazine media association FIPP
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One of today’s major issues in print advertising is its fundamental change of function within the path to purchase. Print advertising used to be the arrival point of a campaign, but that has changed in recent years. Whereas it used to be a deliverable, it’s now an enabler. In other words, print is no longer the end goal in advertising but just the start of the journey. It’s
the driver that needs to create a reaction to play a part in the purchase decision journey. You could describe it as the wrapping paper on a Christmas present – its purpose is to entice the person to unwrap, but it’s not the present itself. Like the present, the power it has to encourage the next step is much more important than what it communicates in isolation. Essentially, print adverts now serve to activate that next step. Print advertising now needs to be fully integrated with technology in order to be successful, to continue the journey and fuse the campaign as a whole. There are two key outcomes when combined with mobile: it can drive towards a mobile-optimised landing page or activate the download of an app. The work we did with Volkswagen used QR codes in print ads to direct the user towards their nearest dealership and offered incentives on the vehicle they had been browsing. Unfortunately, it is often executed badly, for example where isolated hashtags are inserted as a token effort. This lack of joined-up thinking impacts on the consumers by not meeting their needs and causing them to lose confidence in the channel as a whole.
print is to really bang the drum for its power to build brands and deliver crafted, beautiful, rich content to lots of people. For example, Mercedes combined print with mobile technology to deliver both brand building and activation. The most important point to make is about the longevity of news brands; what is less important is the platform those brands are distributed on. There is plenty of evidence that printed brands will still exist in ten years’ time. Just look at the current
reach of print – 85% of the UK still read a national newsbrand or magazine every month. The digital revolution makes you think harder and more clearly about the messages you are putting out on what platform. It’s forcing media planning to be smarter and better. Gone are the days when you felt the need to cram every message onto a page, trying to do a branding ad but slapping a promotion on top. Digital can make print advertising clearer and more focused.
Pietro Leone
“Print advertising now needs to be fully integrated with technology in order to be successful” Pietro Leone, chief executive for EMEA of brand activation agency Geometry Global
“Augmented reality can become a richer way of communication in paper”
Manfred Werfel
Manfred Werfel, deputy CEO, executive director, global events WAN-IFRA, the World Association of Newspapers and News Publishers
You get mixed reports about the uses of Augmented Reality in print, with some reporting that it is clunky and a gimmick, while there are others that are very well designed. Augmented reality apps such as Blippar and Aurasma have been used to enhance print content. Users point the camera on their mobile or tablet at print content and it springs to life. In the UK, The Independent launched a daily AR feature using the Blippar app, which allowed readers to get multimedia content by scanning the paper with their tablet or smartphone. Magazine publishers such as Bauer Media launched AR initiatives for some of their UK magazine titles using the Blippar app. Top Gear magazine has also used AR through the Aurasma app and has estimated that half its readers have watched content using the app. Similar to many things you see in print, such as translucent paper which can improve the effects of advertising, it always depends on how you use it. If done in a clever way, which really makes use of the material, it can make a lot of sense. The same is true of augmented reality. I have seen examples which are powerful. If you just link to an existing website, that is not very exciting to the user. But if you make good use of it and link it to a new level of experience “The digital revolution which is not just advertising but delivers new insights, makes you think then you can have good and harder and more exciting effects. clearly about the But there is a technical challenge with the issue of messages you are standardisation, which is putting out on what always a problem with platform. It’s forcing digital technology. media planning to be I am sure that augmented reality can become a richer smarter and better” way of communication in paper. One of the many great strengths of print is that it can easily link to digital platforms. www.printpower.eu | PRINT POWER _49
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NEWS CASE STUDIES INSPIRATION OPINION INSIGHT RESEARCH Whether on paper or online, Print Power works hard in promoting the use of print across a number of channels. Access the latest news, opinion and our exclusive database of case studies showcasing the value of print at: www.printpower.eu | /printpower  And if you want to subscribe to Print Power magazine, go to www.printpower.eu/Print-Power-Magazine
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Knowledge Over the next five pages, we’ll be giving you the latest research, information and insight into the five key mediums covered by Print Power. Each one has their individual strengths and advantages, but used in combination with each other, they can offer a powerful solution to any marketing challenge.
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MAGAZINE ADVERTISING With over 50,000 magazine titles currently published in Europe, they are an ideal way to get your brand in front of a key target audience. — DIRECT MAIL With an ROI of up to 40% and an industry value of £25bn in the UK, direct mail is one of the most effective marketing channels. — CUSTOMER MAGAZINES One of modern marketing’s true success stories, customer publishing has swelled to a £10bn global industry thanks to the huge levels of engagement it offers brands. — DOOR DROP MAIL The door drop market is rising by both volume and revenue, and is ideal for getting a great level of response from the most amount of people. — CATALOGUES One of the oldest forms of marketing, catalogues are still a highly effective sales driver, generating over £16bn of sales in the UK every year.
If you would like further information on the vital role print plays in marketing, plus the latest news on print media around the world, go to www.printpower.eu
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7 reasons / Magazine advertising
1. FANTASTIC REACH With over 50,000 titles published in Europe selling in excess of 20bn copies per month, magazines are one of the most widely distributed forms of media in the world. — 2.FINE-TUNED TARGETING Each magazine title is specialist in some way, reaching a certain demographic or interest group that will engage with relevant advertising or featured brands. — 3.FOCUSED ACTIVITY Reading a magazine requires high levels of concentration, the same levels of concentration that will be devoted to advertising as well as editorial content. — 4. THE TRUST FACTOR Magazines are a trusted friend to their loyal readership, and any brand that places themselves in that magazine can capitalise on that trust and use it to foster a new relationship. — 5.INTEGRATION On average, more than half of all readers take action on magazine ads, a response that can be optimised when the ad is used as part of a wider campaign. Brand awareness, for example, can be doubled. — 6.AWARENESS GENERATION Research shows that awareness generated by magazines and TV is roughly the same, but given that the expense of advertising in magazines is lower, they offer a more cost-effective solution. — 7. DRIVING SALES Research shows that magazines are a powerful tool in driving sales. A PPA study showed that 63% of readers were driven to action after exposure to magazine advertising.
WOODFORD RESERVE ESQUIRE The premium Kentucky bourbon Woodford Reserve wanted to build a brand identity from scratch among a discerning, media-savvy audience, so turned to style bible Esquire magazine for a fully integrated creative collaboration. The magazine’s editorial team created bespoke content centred around the brand, including a US road trip in search of the greatest ever American cocktail and a guide to bar culture. Alongside a series of cover wraps, the content created a vibrant and stylish personality around the drink and, in terms of sales, awareness and engagement, gave Esquire its most effective collaboration to date and successfully delivered all Woodford Reserve’s objectives.
PRINT MAGAZINES REACH MORE ADULTS AND TEENS THAN THE TOP 25 PRIMETIME TV PROGRAMMES IN THE US
MAGAZINE MEDIA FACTBOOK, 2014
“ We have a number of titles that are selling more year-on-year. All of our titles have a future in print” Anna Jones, CEO of Hearst UK
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7 reasons / Direct mail
1. THE MAIL MOMENT Direct mail enters an individual’s home and is consumed on a oneto-one basis. This gives you much more time with your customer, time to engage them in a relaxed environment at a time of their choosing. — 2.SENSORY EXPERIENCE The physicality of a mailing adds another dimension to the brand experience. Using your customers’ senses you can stimulate and entertain, getting them to reassess your brand and drive response. — 3.PRECISION TARGETING Direct marketing works best when it’s made relevant for the recipient, with tailor-made content appealing directly to the consumer. New digital printing technology can make this personalisation even easier. — 4. MAKE PEOPLE ACT Direct mail is the most likely form of communication to get a response from a customer, with the cost of every response measured with accuracy. As it’s a tangible object, DM is also likely to hang around. — 5.EFFECTIVENESS Reports have demonstrated the enduring effectiveness of direct mail, with 48% of UK adults having done something in the last 12 months as result of mailing and 30% having bought something (Royal Mail, 2011). — 6.GET CREATIVE Direct mail is unique in that mailings can be produced in a wide variety of formats, using different shapes, sizes, colours and materials to create a surprising and memorable brand experience that will stay in the home for weeks and even months. — 7. INTEGRATION Adding direct mail to an integrated campaign can raise the campaign’s effectiveness by up to 62% (BrandScience, 2012), while bridging technologies such as QR codes and augmented reality make it simple for consumers to go from print to digital.
HOMEBASE DIY chain Homebase rely on spring for up to 50% of their total annual revenue, so it’s an important time for them to contact customers and encourage them to start work on their gardens. However, it’s a short window of opportunity, so Homebase targeted 500,000 customers with a piece of DM that focused on three elements: ease, relevance and enjoyment. The pack opened with motivational ideas, hints, tips and tools, demonstrating what could be done with any amount of time – from five minutes to a day. To keep the mailer useful and retainable, offers were valid throughout the season and kept customers coming back as their project expanded. And to help keep the customer enjoying their project, they could share their success with an online community.
Results far exceeded expectations: by inspiring and helping customers plan ahead, 81% were motivated to start a project in their garden and ended up spending 20% more across the garden season, totalling £30.2m in revenue. The work also gave the team at MRM Meteorite a Best Use of Direct Mail Award at the prestigious 2014 DMA Awards.
67% OF PEOPLE’S ONLINE SEARCHES ARE DRIVEN BY PRINTED MARKETING
IPSOS US, 2013
“ Direct mail is twice as likely to engender trust than email. Post is also seen as more memorable and authoritative” David Cole, Managing Director of fast.MAP
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7 reasons / Customer magazines
1. SUBSTANCE There’s nothing to beat the feel of a magazine. Taken with its portability, ease of use and sense of glamour, it offers the reader control and entertainment in one neat package. — 2.ENGAGEMENT Magazines are the most effective medium when it comes to engaging your customer, entertaining and informing them while delivering your brand messages. — 3.TARGETING POWER Since a customer magazine is so versatile with its content, it can target any number or group of people, from specialist interest to mass market. — 4. EFFECTIVENESS When it comes to results, customer magazines are among the best. Print offers a vital guarantee of measurability, with brand awareness, sales tracking and ROI calculated within days of the magazine’s release. — 5.LOYALTY One of the most common reasons for launching a customer magazine is increasing loyalty, with a brand achieving regular and reliable time with its customers. — 6.ENTERTAINMENT A magazine builds your customer’s faith in your brand by offering great content at little or no cost. Entertain them and you’ll have their attention all to yourself. — 7. COMPLEX CONTENT Print works fantastically well at getting across complex content or marketing messages. So if you need to explain something in detail, a customer magazine may well be the best option.
OUR WORLD P&O CRUISES Targeted at around 180,000 members of P&O Cruises Peninsular Club, Our World rewards these loyal customers every quarter, adding value to their membership of this unique community of cruisers. With the look and feel of a newsstand magazine, the title is an impressive travel and lifestyle publication that makes the reader feel as though they are being personally guided through the content and everything the travel brand has to offer. This editorial approach is clearly working: on average, 2,300 booking are taken from each issue, creating around £3m in revenue, while the magazine itself sailed off with the Best Consumer Membership Award at the 2014 International Content Marketing Awards.
12 OUT OF THE UK’S TOP 20 MAGAZINES BY CIRCULATION ARE CUSTOMER MAGAZINES
ABC, 2014
“Print is still the best medium for telling stories in words and photographs” Christopher Lukezic, publisher of Airbnb’s Pineapple magazine
54_ PRINT POWER | www.printpower. eu
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7 reasons / Door drop
1. IT DELIVERS ROI Door drop drives rapid and measurable response. That response shows an impressive ROI – and it’s growing. In a study by ELMA, the door drop industry grew by 0.5% in volume and 1.5% in revenue over a 12-month period (ELMA, 2012). — 2.MASS-MARKET MEDIUM Door drop is the only truly national mass media available to marketers, with a satisfying 100% reach. Despite the advances in other media, door drop is still the only way of delivering a document into the hands of millions of households. — 3.RIGHT ENVIRONMENT The fact that the consumer receives your material in their own home is crucial. They can take in and respond to the messages in their own time, never forced or coerced. — 4. TARGETED WHEN REQUIRED Using geomarketing, you can pick and choose which demographic you’re after, gathering vital data along the way. With this data, your campaigns can become more and more sophisticated. — 5.IT’S CREATIVE A lot of brands take advantage of the creative potential of door drop, with many using innovations such as holograms, scented paper, 3D techniques and pop-ups to grab attention. — 6.SAMPLE DISTRIBUTION Getting your product directly into the kitchen of your prospects is a fantastic way of raising awareness of your brand, as well as getting your customer to try it. — 7. EASILY INTEGRATES Door drop works harder when used as part of an integrated campaign, pushing people to go online or call a number for more information.
SALVATION ARMY Every year, The Salvation Army focus on a six-week marketing period leading up to Christmas. During this time they recruit all new donors and ask existing donors to give again, spending 70% of their annual marketing budget. Building on an already powerful mail campaign, the charity developed a multichannel strategy, which included TV and digital, as well as a doubling of investment in door to door and direct mail volumes.
The results were staggering: there was an immediate increase in new donors and levels of giving, which grew over the next five years. Between 2008-2012, new donors grew by 262% up to 131,000, while donations grew by 48%, giving an additional £25m. While other channels generated large donations from existing donors, mail was the most cost-effective generator and the largest volume source for acquiring new donors in the expanded campaign.
60% OF EUROPEANS SAY UNADDRESSED MAIL IS THEIR NUMBER ONE CHOICE TO RECEIVE RETAIL OFFERS
ELMA, 2014
“ A great idea can come from anywhere, including through the letterbox” Elspeth Lynn, Executive Creative Director, M&C Saatchi
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7 reasons / Catalogues
1. ACCESSIBILITY The advantages of print catalogues are their ease of use, level of trust and accessibility. They’re portable, aspirational and designed to be picked up repeatedly. — 2.INFORMATION-PACKED The catalogue is a lightweight and readily available source of information, with most questions answered within its pages. Price, look, colour, size, quality and performance can all be communicated quickly. — 3.SEDUCTION TECHNIQUE For high-end products, a catalogue offers an opportunity to draw the customer into the brand’s world, giving them an experience that goes beyond the shop window. — 4. BUILDING THE BRAND Catalogues offer the brand a significant amount of time with their customers, strengthening the relationship and building the brand. — 5.TARGETING OPPORTUNITY Since the main distribution method for catalogues is post, targeting is a key element to ensure you’re reaching the right prospect. Whatever demographic you’re after, you can reach them in a matter of hours. — 6.BRAND LOYALTY A well-produced catalogue which stays true to the brand will foster large amounts of brand loyalty, with the customer satisfied that their custom is worth the effort and cost involved in its production. — 7. EFFECTIVENESS Working alongside direct mail, online and digital mediums, the catalogue’s ability to have its results measured quickly and accurately is a significant advantage for the marketer.
TRANSFORMATIONS LEVI’S The global clothing company wanted to grab the attention of skateboarders, a group of urban trendsetters notoriously cynical about marketing, and so commissioned content agency TCOLondon to create a ‘look book’ to be distributed at all 282 Levi’s Skateboarding retailers worldwide. The result was Transformations, a stylish, premium book that told the stories of a number of skateboarders from around the world, detailing their life, culture, style and
aspirations. Certainly not a catalogue in the traditional sense, Levi’s were impressed with the results. On the day it was released, retailers and customers immediately started posting photos of it on Instagram, Twitter and Facebook, while Levi’s said it was contacted by new retailers who were asking to stock the collection so they could offer Transformations to their customers.
CUSTOMERS WHO HAVE A MULTI-CHANNEL RELATIONSHIP WITH HIGH-END FASHION BRAND NORDSTROM SPEND FOUR TIMES AS MUCH AS THOSE WHO DON’T
ELMA, 2014
“Whenever we take something out of the catalogue, sales fall by 60%” Johnnie Boden, founder of the Boden fashion brand
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FINAL WORD
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Rafael Alférez The marketing director of BMW Spain explains how print continues to play an important role in his brand strategy
How is BMW’s current relationship with the media? Our relationship is based on openness and transparency. After several years in which it was almost impossible to give investment estimates, for the past couple of years we have been able to give a reasonably precise estimation of our future plans, especially to motoring magazines. What we have with printed media, as well as with other forms of media, is a set of transparent game rules which are developed from our strategy, and which we maintain over time. In which forms of print do BMW advertise in Spain? Motoring magazines are an important pillar of our media strategy. Daily newspapers and particularly regional papers also play a vital role in our media presence. How important are product catalogues for BMW? They are essential. All brands have made significant steps towards digitalising catalogues and other business documents,
but the catalogue remains a key element and is the most common request from potential BMW buyers visiting dealerships. What media strategy do you find most effective in papers and magazines? Print media achieves different aims depending on whether it’s on a national or local scale. On the national scale, it becomes a fundamental compliment to other, more wide-ranging media, while on a local scale its success consists in its speed of delivery and the possibility for readers to fi nd a message or special offer from a particular dealership.
“Our catalogue remains a key element and is the most common request from potential BMW buyers visiting dealerships”
Which BMW campaign stands out for having particular success with print? In 2014, we ran a campaign in the daily press in which we ran a headline that specified the number of readers of each type of media in which BMW were present. It was a way of calling attention to ourselves and a good exercise in remembering that creative resources can still come in ‘classic’ formats, such as inserts or half-page adverts. How do you think print is adapting to modern life? There is great diversity, possibly because each medium has its own strategy for adaptation. It’s a difficult challenge and nobody has found the perfect solution yet. What’s your key personal challenge for 2015? From an advertiser’s point of view, we continue to face the challenge of combining diverse media with the goal of maximising reach, affi nity and frequency, as well as ensuring that all media acts in synergy.
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“IF THERE’S A BETTER WAY TO TALK TO PEOPLE, I’LL EAT MY HAMSTER.” David Robinson – Sales & Marketing Director, The Sun
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