Fashion and Content in 2020: Online vs Offline,T he Battle for Consumer Readership.
By Corin Ripley. 1 Figure 1: Women reading magazine. Part 1: Contents 4 Executive summary 6 Introduction 6 Methodology Part 2: Offline .v.s. Online Page 9 Emergence of online 12 Mobile media 13 Social media 16 Environmental Concerns 18 Is print still prevalent 22 Fake News Part 3: The 2020 Consumer 25 Demographic considerations 28 Changing standards 30 One size does NOT fit all 34 The rebrand Part 4: Emerging Impacts 37 Data and personalisation 41 Covid-19 Part 5: The Solution 47 Phygital 48 Pen Portraits 56 Addressing part 2 58 Addressing part 3 60 Addressing part 4 Figure 2: several books. 65 Conclusion Word count: 7640 ARTD 3038 66 Reference list Final major project 80 Bibliography 81 Appendices 2 3 Part 1 n 2020, fashion content and how we consumeI it, is undergoing a pivotal change that will drastically change the industry for years to come. This report will examine and rationalise the evidence behind why the traditional print industry is in jeopardy, such as changing consumer demands, technology and most recently, the Covid-19 crisis.
Part 1 will introduce the off verses online content battle and sets out specific objectives and methodological approaches of the report.
Part 2 will examine multiple facets regarding the content battle such as technologies dramatic effect on the traditional print industry and its readership. Additionally, it analyses why traditional print is failing to achieve adequate sustainable solutions as climate change enters our concerns. Figure 4: Women holding magazine. Part 3 addresses how the shifting demands and diversifying subcultures of consumers are other content providers. This report consolidates pushing the demand for niche and varied content. the effect of Covid-19 on fashion magazines and It presents old portrayals of consumers and how how this pandemic is facilitating supplementary art direction and content as a whole is shifting to shifts to online models due to its necessity in more inclusive and dynamic representations. staying connected and engaged during the lockdown period. Part 4 deals in recent causes that are jeopardising print industries to breaking point. These include Finally, part 5 proposes a brief solution that data and personalisation within technologies addresses the issues raised in the report. By providing more unique and customer centric combining both online and offline strengths experiences, that pulling readership away from it attempts to present an innovative customer- Executive centric and personalised approach to consuming content. this report will conclude with why this solution appeals to all demographic considerations and has the potential to wins the Summary content war for the future. Figure 3: Women with tattoos.
4 5 As a result, “Magazines have suffered for years, their monopoly of readers erased by Facebook, Google and more nimble online competitors” (Ember and Grynbaum, 2017). Efforts to innovate, through website creation and social media has maintained a level of readership; unrealistic through print mediums alone; but hasn’t saved print titles from declining revenue streams due to technologies continued growth. It could be argued that print magazines are clinging on to outdated methods of content creation.
However, there are arguments for the prevalence of the print industry. Distrust for online media and the emotional connection associated with tangible magazines shows a slow trend forming Figure 6: in favour of the traditional print industry. Wonderland Editorial 2.
Figure 5: Wonderland Editorial 1. Methodology Objectives
I have conducted a wide and comprehensive Introduction analysis into secondary research which comprises • To understand the multi-faceted reasons for the of various formats such as academic journals, fragmentation of content and the jeopardization “Fashion has always been a reflection of the what happens when the magazines begin to fall articles and books. These varying formats help of print magazines. zeitgeist” (Webb, 2019). As a consequence, behind the zeitgeist, keeping up with specific examine themes and discussion and journals fashion magazines are responsible for interpreting fashion trends but ignoring the defining change help to provide academic rigour and evidence. In • To summarise the changing ideals and demands the zeitgeist and bringing it to the masses through of the 21st century – technology. Despite fashions regard to quantitative research, the use of graphs of consumers in the past compared to consumers creative content. swift response to trends, its internal development and statistics from reports also assist in compiling now and how this in turn has affected the wider and core business is considered late or “laggards” a comprehensive assessment. Primary research content industry. The golden age of print of “the 1990’s, when glossy (Roger’s, 1995) in comparison to other industries has been conducted in the form of qualitative monthlies still soaked up millions of dollars in as it fails to take the first leap in utilising innovative interviews with industry professionals and has • To compile an innovative solution that advertising revenue” (Ember and Grynbaum, technologies as an instrument for growth. helped gain insight from inside the print industry draws on the strengths of the print and online 2017) has long since passed. As with any business, itself. Their responses will help strengthen the content industries to provide a unique business the key to growth is change and innovation, but arguments discussed in the report, whilst also opportunity. drawing attention to viewpoints not considered previously.
6 7 Figure 7: Smart phone on books.
Emergence of online:
he emergence of technology is the Tdefining change of the 21st century. As a result, traditional industries, such as print publications began to include online websites alongside Part 2: their long-standing print issues as a strategy to maintain readership. However, “digital magazines instead of replicas of printed magazines, based on digital devices, have been gaining popularity and preference due to its unrivalled convenience and interactivity (Wang, et al 2016). These benefits along-side a plethora of others such as “lower cost Offline vs in production and distribution” (Wang, et al 2016) are why online specific content differentiates itself hugely from its print competitor and continues to thrive in 2020.
Further, “the growing availability of free content Online. online and competition for consumers leisure time for streaming services like Netflix have had a significant impact on magazine sales” (Woodcock, 2019). 2018 saw “481m consumer magazines sold, 60% less than in 2005 (Woodcock, 2019). Therefore, the steady decline in sales year after year, means that print titles must evaluate its current offline strategy and whether its needs to Figure 8: Iphone taking photo. become more online specific.
8 9 Marie Claire
An example of a print publication re-evaluating This move has been a successful one with “2 its off and online channels is Marie Claire. million monthly users” (Westbrook, 2019) of the Recently, the magazine has been focusing website and involved expansion of its social media on “driving diversification and amplifying accounts, for example the “Marie Claire edit” the digital transformation of the group.” (Marie Claire, 2020). This case study evidences (Marieclaireinternational.com. n.d.). What how embracing a solely technological strategy has followed was the complete eradication of their expanded its reach and favour amongst fashion UK printed magazine to move solely online “to content readers and saved this publication from best serve the changing needs of its audiences potential eradication from the newsstand. mobile first, fast-paced, style rich lifestyles” (Westbrook, 2019).
Figure 9: Marie Claire Edit Homepage.
Figure 10: Marie Claire April 2019 cover.
10 11 Mobile Media Social Media Figure 11: People holding mobile phones
Alongside the expansion of technology, came the birth of social media, where in 2009 alone, “Twitter grew 577%, Facebook 188.6% and LinkedIn 89%” (Siapera, 2018). More recent figures show that “worldwide there are 3.80 billion social media users in January 2020, with this number increasing by more than 9% (321 million new users) since this time last year” (We Are Social, 2020). Thus, proving social media’s continued success and unlimited potential.
James Wildman, of Hearst Publications has said for its print issues “we sell nearly 5m a month…and we have 20 million unique UK users online a month, and more than double that on social media” (Sweney, M., 2018). Social
The dawn of smart phones has platforms can “engage in a cultural “It is true to say that some diminished the readership and conversation each and every day” authority that print magazines (Barr, 2020). This is a substantial of the 1 million millennial used to hold. The combination of contributor to why the online women every week that look portability and the internet triggered content industry holds dominance at Cosmopolitan on Snapchat Figure 12: Social Media imagery. the access to online content “across in modern society and has stolen boundaries of space and time” prints authority in being the only don’t know we also have a media can therefore be directly attributed to (Siapera, 2018). The immediacy source of consumer receiving magazine of the same name.” the supplemental decline in traditional print of information at your fingertips content. Why buy a magazine or readership as social media is driving readers to its helped in “fulfilling readers’ instant newspaper when you can check (Sweney, M., 2018). channels. Social media is significantly responsible gratifications” (Wang, 2016). your phone? to online contents overall dominance and sizable investment in digitisation. “People pick up their mobile device 150 to 200 times a day” (Cohen, 2016). Therefore, online content
12 13 One of the reasons for social media’s popularity is Figure 14: Social Influencers. its creative freedom without the restrictions that print magazine’s face. “Design houses have issued new rules on how stylists must use their garments in editorials e.g. Calvin Klein, Celine and Christian Dior” (Mallon, 2018). These restrictions involve limiting styling to pre-conceived head- to-toe brand looks. Intuitively, magazines have found a way to utilise these restrictions to their advantage with large editorial spreads where each look is a different brand. However, these restrictions are ultimately about control from design houses and reducing the risk of their brand image being undervalued. Due to print sales falling, “magazines must adhere to their dictates, so dependant are they on advertising” (Mallon, 2018) revenue from the luxury brands. The magazines, governed by other entities outside the publication are hindering their creativity and the “lifetime core of the business – the print product is an afterthought, overshadowed by investments” (Ember and Grynbaum, 2017).
Additionally, “Blogs or personal websites etc are “9 out of 10 consumers trust in an influencer more growing because of the role of ‘influencers’ in than traditional advertisements or even celebrity today’s society, people like to see into the lives endorsements” (The Business of Fashion, 2018). of others and use them as inspiration for their As a consequence, advertisements are moving own lives” (Trievnor, 2020). Affording a few to these platforms, as “ad spending on social designer pieces resonates more with consumers media will jump 20% to a figure £66bn in 2019” than the feasibility of a head-to-toe Chanel look. (Houghton, Friend and Bishop, 2019). This They have more creative freedom and can post demonstrates that not only is social media taking whatever they want. As a result, a more diverse print’s readership but also its advertising revenues. range of stylist-like influencers are churning out “Combined magazine and newspaper spending is more favourable content and engaging fashion forecast to fall 6% to 54bn, symptomatic of the imagery. growth in people using social media streams as their main source of news and essential cultural information’s” (Houghton, Friend and Bishop, 2019). Thus, the authority glossy magazines once held over the content industry is facing complete redundancy in modern society.
Figure 13: Dior Editorial.
14 15 Figure 16: Subscription packaging.
Figure15: Model on clothes pile. Magazines, in response to shifting demands, are making changes to their packaging. Elle UK is delivering subscriber issues in recyclable paper and Vogue UK invested in biodegradable plastic. However, these changes haven’t reached supermarket shelves, which are still surrounded by single-use plastic. Additionally, “every week, tens of thousands of unsold comics and magazines are returned from shops to retailers, who send them to be pulped (Hall, 2016).
“If, as predicted, the global population reaches 9.6bn by 2050, we will require almost three planets worth of natural resources to sustain current lifestyles, according to the UN” (The Future Laboratory, 2018). Considering a printed issue of Vogue could find itself in landfill mere weeks after printing; including its packaging; physical magazines are not sustainable enough to fulfil consumer expectations for sustainability in 2020.
Compared to print, online doesn’t produce product waste straining the planets resources. Environmental Jessica Graves, leader in data science and fashion stated: “A world of immaterial and digital fashion offers opportunities for brands to exert “The very notion of disposable seasonal trends their creativity and connect with consumers - the currency that fashion has dealt in since its through a different medium. I think consuming proliferation of ready-to-wear in the 1960’s – is Concerns digitally will be much more sustainable. In that increasingly irrelevant” (Quick, 2020). This has sense, technology can save fashion” (The Future resulted in online and print magazines alike Another issue, becoming prevalent in 2020, is “Out of the approximately 2.8 million tons of Laboratory, 2018). steering towards ‘slow fashion’ content such as the environmental implications of the fashion plastic waste generated in the UK in 2000, about articles like: “The swing of things” (Quick, 2020). industry. “This comes at a time when consumer 60% or 1.7 million tonnes are packaging waste” This is not to say that the online industries are awareness of sustainability is changing. In a recent (Von Stamm, 2014). Magazines are contributing exempt from all environmental concerns. Social ‘Slow fashion’ is a buzz word finally infiltrating survey of Generation Z women, 72% said it is to this waste problem and consequently pushing media and online fashion companies are a huge fashion’s zeitgeist, but a buzz word doesn’t detract imperative to buy brands that are environmentally eco-conscious consumers away from investing in contributor to the epidemics of fast fashion as from the industries terrible contribution to the friendly” (The Future Laboratory, 2018). By print, instead looking for sustainable alternatives it endorses a disposable lifestyle. “Thanks to the climate crisis overall. Offline and online fashion proxy, print magazines are being called into to consume content. digital revolution and the birth of influencer content both share in the shame of facilitating question about its own impacts to the climate culture, there were ever more channels for people fast fashion. crisis such as its unsustainable plastic packaging. to declare ‘in’ or ‘out’ and wave the ‘been there done that’ flag of boredom. (Quick, 2020).
16 17 Is print still prevalent?
Despite the power of online media, there are still A surprising demographic to pick up the print arguments for printed fashion content. Online readership mantle are the younger ones, as “Gen platforms have become a victim of their own Z are a growing market for the print industry” success. Over-saturation has made it virtually (Milner, 2020). Print “appeals to an increasingly impossible “for consumers to navigate our discerning audience, one that doesn’t like overloaded media landscape and to figure out being pandered to by the reductive forces of who to trust and what’s worth reading” (Hawkins the internet” (Jones, 2016). Helen Johnson, a and Bishop, 2019). As a consequence, readers of respondent of the primary research and member online content engage with “a low attention span” of the millennial demographic stated that “yes I (Buchanan, Mickiewicz and Stott, 2016) and can find brilliant digital articles in seconds too, minimal interaction. but they don’t have the same tone of voice, the same authority and inspiring imagery. Magazines In contrast, “paper stimulates both a stronger give me so much more joy than screen-scrolling emotional response and significantly improved ever could!” (Johnson, 2020). Print’s come-back memory and comprehension” (Irwin, 2019). has even resulted in digital forces investing in Thus, a new “readership is evolving” (Irwin, 2019) print mediums. back to previous forms of consuming content. This can be considered, “pre-meditated reading where more thought goes into reading print than digital” (Irwin, 2019).
19 Figure18 17: Online saturation cartoon. Highsnobiety
The streetwear blog Highsnobiety is “launching a print magazine for the Instagram generation. An attempt to appeal to a nostalgic segment of Gen Z who are collecting magazines the way the CD generation collected vinyl’s” (Milner, 2020).
This new magazine will entail “4 per year – each with a different theme” (Milner, 2020). This adheres to advice stated by former editor-in- chief of British Vogue, Alexandra Shulman, who “suggested that the future of print magazine could lie in switching to less frequent, special editions” (Woodcock, 2019).
“The research we’ve conducted shows that there is a subgroup of people that we call “cultural pioneers” who are drawn to Figure 19: Man Reading Highsnobiety. print as a source of inspiration” (Milner, “Digital is incorporated into the magazine’s DNA, 2020) . aiming to engage both new and loyal members of Highsnobiety’s online community” (Milner, 2020). By utilising the strengths of both on and offline industries, this physical magazine will add an extra value to its omni-channel strategy, driving increased revenue for Highsnobiety and expanding its reach.
Figure 18: Highsnobiety book.
20 21 Conversely, growing distrust can also threaten advertisement revenues for print publications. “According to one study, 70% of consumers no longer trust advertising and 42% distrust brands in general. (The Future Laboratory, n.d.). This is not good news for print magazines whose advisements more often than not, take up half the pages in their issues. Consumer scepticism of fake news has evolved to a distrust in all content and the advertisements that come with it as people “hate to feel marketed to, that they are instinctively resistant to brand manipulation” (Mallon, 2018). Therefore, the most logical conclusion would be that both print and digital needs to re-think their advertising and communication strategy towards the 21st century consumers.
Thus far, the culmination of information in the content war, has revealed an the dominance of online content in modern society, devastating the rival offline industry with “Marie Claire losing its space on the newsstand and 22 other titles which have closed since 2014” (Woodcock, 2019). Despite this, strong reasons still exist for the print industry to continue. When questioning the future of content and the respective on and offline industries, the logical deduction would be to follow suit of Highsnobiety. To utilise the strengths from both industries to fortify a successful omni-channel strategy. However, the print industry remains the Another strength that print holds over its most in need for innovation, in order to not become another online competitor is it “conveys permanence Figure 21: Magazine Stand. title to fall off the news stand permanently. “By combining a cost and credibility” (Urban River, 2018). Stylist reduction drive with expansion into customer focused revenue Helen Johnson states that “many magazines are streams. Publishers can future proof their commercial strategies household names, think of Vogue, Elle, Harpers and ensure their survival” (Woodcock, 2019). and Good Housekeeping for instance, these magazines have been around for decades and are recognized internationally for editorial excellence and are the authority on the latest news, trends and issues. Hearst UK, for example, reach a Figure 20: Vogue 2018 cover. quarter of the entire UK population” (Johnson, 2020).
Despite incorporating online websites and Fake social media into the brands DNA, “There’s the appearance of trustworthiness, in a time when we are told to question everything we read in the virtual world of fake news, being a brand that can be trusted is crucial” (Urban River, 2018). News Therefore, print’s prevalence in the digitally dominant landscape reflects the need for unbiased and honest content that people can depend on.
22 23 Demographic Considerations
is a scale that “has been developed to measure people’s propensity to embrace and use new ssumptions based on stereotypes is one technologies” (Rojas-Méndez, Parasuraman and ofA the main reason’s companies overlook certain Papadopoulos, 2017). demographics, missing out on potential growth by sticking to what they know. Regarding print, one According to the study, demographic differences such assumption is that older generations or ‘Baby such as location, education and age play a huge part Boomers’ prefer print due to their familiarity with of how willing one is to adopt new technologies. it and their technophobia (Tsikriktsis, 2004). A Regarding the multiple generations, younger report found that there is truth to this stereotype, generations “score higher on the contributor as “Boomers devote almost three hours per week dimensions of optimism and innovativeness, and to reading newspapers and magazines, compared lower in the inhibitor dimensions of discomfort to 1.6 hours for Gen Xers and 1.1 hours for and insecurity.” (Rojas-Méndez, Parasuraman Part 3: Millennials” (Marketing Charts, 2014). and Papadopoulos, 2017). The level of expertise and ease that younger generations exhibit when In an academic journal exploring technological using technology is hugely down to it being readiness, (Rojas-Méndez, Parasuraman and around since they were born, similarly to Baby Papadopoulos, 2017). The TRI scale (appendix 1); Boomers and print formats. The 2020 previously developed by A. Parasuraman (2000) Consumer. 25 Figure24 22: Aged man. Figure 23: Grece Graham. Print Magazines
Print Newspaper Paid
Figure 24: subscription graph. 24: subscription Figure Digital subscription Magazines services Digital Newspapers graph
Other evidence suggests that “Gen-Z are a growing market for the print industry, spending Figure 25: an average of one hour a week reading print women publications” (Milner, 2020). Figure 24 taking a photo. corroborates this claim as it evidences consumers paying for print subscription significantly more than their digital competitors. This may also suggest people attitudes towards print, believing it worthier to spend time and money on. This Additionally, “older people tend to perceive a increase and is dominating the content landscape could point to online content evoking a sense reduction in their own cognitive capabilities to in 2020. of triviality, for light reading only. Following the learn, which could be a barrier for them to embrace example of Highsnobiety, online platforms could and use new technological developments” (Rojas- In contradiction to the TRI scale, “Pew Research benefit from establishing print formats and the Méndez, Parasuraman and Papadopoulos, 2017). Center found that 60% of Americans aged 50- tangible benefits associated with it. This study corroborates assumptions that younger 64 were using social media (Marketing Charts, generations are more likely to engage in online 2014). In fact, the rise in “Insta-grans” such as There will always be members of any demographic content rather than traditional print media. ‘Style Crone’ with 55.4k Followers (Instagram, that reflect their stereotypes, but what is clear is Furthermore, as “Gen Z will comprise 32 percent n.d) and Grece Ghanem with 270k followers that the 2020 consumer, old or young cannot be of the global population of 7.7 billion in 2019, (Instagram, n.d) questions the validity of TRI pegged down. Demographics are diversifying, nudging ahead of millennials, who will account scale in attributing technophobia to all among old or young and all demographics digest both for a 31.5 percent share” (Miller and Lu, 2018) the older generations. online and offline content. it also explains why online’s use continues to
26 27 Whilst these previous models reflected the current zeitgeist at that time, “lifestyle research represented consumers as more diverse and changeable than ever before” (Gough-Yates, are lots of subjects to broach on a wider basis in 2010). As changing descriptions of femininity and terms of weaknesses, from production and waste masculinity enter the lexicon and the sub-cultures when it comes to actually making magazines, or fragment further, it has become almost impossible the controversies in the fashion industry when for print magazines to mass-market large groups it comes to models or how the industry portrays of consumers without misrepresenting the varied ‘perfection’” (Trievnor, 2020). This supports number of demographics within society. earlier claims of the industry resisting innovation despite being well aware of the current issues Freelance stylist and previous fashion assistant at within print. However this does not befit all print Red magazine, Lucy Trievnor states that “There magazines.
Changing Figure 26: Old American magazine. standards Alongside technology, the other major catalyst or “femvertising” (Cunningham, Roberts and which requires more attention is the changing Cook, 2020) model for advertising alongside expectations of consumers in 2020. The old the rise in feminism suggesting that “all women methods of marketing at the beginning of print are non-conformist and bold” (Cunningham, magazines or even during the peak of the 20th Roberts and Cook, 2020). This method whilst century glossies have changed significantly to progressive is equally problematic as not all what consumers want to see now. For example, women conform to this narrative. Similarly, backlash against gender norms where brands masculinity is now under the microscope, subscribing to ‘the ‘good girl’ (Cunningham, bringing forth a “conversation about damaging Roberts and Cook, 2020) or the ‘lad’ (Gough- stereotypes surrounding masculinity, power and Yates, 2010) aesthetic had to re-evaluate their equality” (Zalis, 2019). Figure 27: Old Family Circle magazine. marketing strategies. Then came the “Rebellion
28 29 However, 2018 saw a “record setting year in terms of racial, size, gender and age representation” (Tai, 2018). It has recorded a “5.2-point jump in people of colour” and 10 more plus-sized cover stars than in 2017” (Tai, 2018). Under the pioneering or will they feel alienated? Under-represented leadership of editor-in-chief: Edward Enninful, consumers will look elsewhere, such as online Vogue UK has enacted real change, as “before content. 2017, the mag went 14 years with only 6, non- white, solo cover stars, in 2018 alone it featured “Diversity and representation are top drivers of 12 out of 23” (Tai, 2018). This proves certain engagement with content and black millennial magazines are responding to the changing times, audiences have actively asked for more in surveys” under the helm of innovative leaders. (Dod, 2019). Therefore, searching the endless capacities of the internet for diverse content is In spite of the emergence of inclusion within easier than waiting for it to appear in print. mainstream titles, they still have a long way to go. Will diverse consumers, facing a magazine shelf, On the other hand, “print culture can provide see consistent inclusion across all publications the brick and mortar for constructing a prison
Figure 28: 90’s Vogue Supermodel cover One size does not fit all. Despite the vast array of body types that exist, the ones typically used in glossies are incredibly restricted and reflect an ultimately unattainable (Gough-Yates, 2010). Similarly, “surveys beauty standard. conducted by CSMM found that only 7 percent of men globally relate to the way masculinity “The beauty myth” written by Naomi Wolf (2002), is depicted in the media” (Chitrakorn, 2019). “attacks on the trappings of consumer femininity. Accordingly, men and women wishing to see Figure 29: Adut Vogue editorial Denouncing women’s magazines and advertising more diversity and inclusion may drift away from for heightening women insecurities and for printed magazines in search for fashion content maintaining their patriarchal subordination” more synonymous with the inclusion they expect.
30 31 or the dynamite for shattering its walls” (Shevelow,1989). Since 2018, Vogue falls under the latter and so do individual magazines who have championed subcultures and niche interests before online technology even existed. These magazines may have a smaller reach but are attributed for setting the tone for youth culture, such as the 80’s and Buffalo Zine. “The disruptive and radical movement transformed the way that society absorbed fashion” (Graham, 2015).
Anyone can start an online platform championing the inclusion they wish to see in the world. This is a cheaper and much easier form of creating and publishing content than making an entire print magazine from scratch. Moreover, youth minorities have the boldness and power, through technology, to create inclusive content instead of just waiting for it. The ease of entry into the market, low costs, short lead times and ease of distribution all equate to relevant and up-to- date content that can rival prints traditional Figure 30: distribution methods. These types of platforms Lizzo for The Gentlewomen magazine. usually gain rapid popularity and a loyal following due to its relatability that mainstream magazines frequently fail to accurately represent. Despite the emerging inclusivity within certain traditional print publications like Vogue, the varied platforms representing niche interests and different subcultures are what makes online a more inclusive environment, befitting the change consumers wish to see in modern society.
Figure 31: Stacked Heads.
32 33 “Exploration of the ways that traditional notions of masculinity The Rebrand are being challenged, overturned, and evolved.” (Caplan-Bricker, Figure 35: Into the wilderness editorial. N., 2019). The one size fits all model and the magazines Figure 36: Feminine man. that continuously prescribe to it are becoming Figure 37: Bedtime stories editorial. increasingly redundant. The power dynamics are shifting business in 2020, “Forrester calls this new era “the age of the customer” (Forrester. n.d).
The age of the consumer is already calling for increased diversity and overall inclusion but also it will affect visual representation of all areas wider than just fashion magazines. “This power shift is the reason that advertising has to be targeted in a contextually relevant and engaging way, rather than a mass marketing approach of broadcasting generic messages to consumers” (Cohen, 2016). It will introduce previously taboo subject matters and change aesthetics in all aspects of culture. Side stepping trend notions of femininity with a bold aesthetic that expresses women and women’s issues in a confident and authentic manner” (Stott, 2017) .
Normal to some but ‘controversial’ to others, these images represent the ‘new normal’ (Cunningham, Figure 32: Androgynous model. Roberts and Cook, 2020) way to advertise. A Figure 33: Tess Holliday Cosmo cover. Figure 34: Indian Women editorial. “post rebellion” phase in marketing that focuses on “tender-full self-expression” (Cunningham, Roberts and Cook, 2020) infiltrating culture and magazine content.
The future shows that the content industry will all have to introduce more inclusion. Unless it wants to become irrelevant it must “remove the worst excesses of gender limiting ideas in marketing” (Cunningham, Roberts and Cook, 2020). Stereotypes of the ‘good girl’ or ‘the lad’ “no longer accurately reflects the more nuanced reality of gender attitudes and experience” (Cunningham, Roberts and Cook, 2020) of the 2020 consumer.
34 35 Figure 38: Data Graphic. Part 4: merging Data and E personalisation
Impacts n the over saturated mass-marketing This is why the “Business of fashion and McKinsey Ilandscape today, brands are looking for new ways global fashion survey identified personalisation to differentiate themselves from their competitors as the number one trend in 2018” (The Business and pierce through the noise. One such technique of Fashion, 2018). is a customer-focused personalised approach.
“How Netflix used big data and analytics to generate billions” (Dixon, 2019)
Through multiple different methods of utilising These methods can be attributed to why “over data, Netflix has managed to personalise each 75% of viewer activity is based off personalised and every user. These personalised approaches recommendations” (Dixon, 2019). range from “collecting customer interactions, response data to a TV show” and “to conduct “Netflix’s success highlights the value of data custom marketing” (Dixon, 2019) for specific ad analytics because it presents an incredible tailoring. insight into user’s preferences” (Dixon, 2019). Additionally, it represents how an online businesses For example, “to promote House of Cards, harnessing data correctly can successfully Netflix cut over ten different versions of a trailer personalise content, thus differentiating itself to promote the show. If you watched lots of from its competitors. TV shows centred on women, you get a trailer focused on the female characters” (Dixon, 2019).
36 37 In regard of the content industries, it is easier consumers are likely to switch to a different brand for online to adopt data usage to formulate or product if they do not receive personalized personalisation for their platforms. Referring communication from the company (Kapoor, to the Business of Fashion trend ‘Getting n.d.) this trend is yet another facet that could Personal’, “leaders of the pack will leverage jeopardise the traditional print industry further. data and technology like machine learning to It may be worthy for the online versions of print provide cutting-edge individualised curation and such as Vogue.co.uk to invest in personalisation tailoring for consumers…to increase relevance in order to keep up with online. However, this of their storytelling and contextual channels; may cause even more readership to shift to online and to refocus on creating products that are usage rather than pulling their readership back to distinctive.”(The Business of Fashion, 2018). traditional print. Print magazines such as Vogue or GQ, despite diversification efforts, cannot hope to reflect every Figure 40: Plants near books. consumer the way a niche online platform would if utilising data and personalisation. As 52% of
Contrastingly, people started to harness data from technology breaches in personal security. The “2011 phone hacking scandal’ that “led to the closure of the 168-year-old News of the World tabloid in 2011 and a trial costing reportedly up to £100m.” (BBC News, 2014). This state to innovation, traditional content brands created scepticism around sharing unnecessary may be apprehensive to utilise personalisation information and data about oneself that could be when examples of its incorrect uses have been used for harm. detrimental to businesses like News of the World, but if employed accurately it would expand its Moreover, wrongful uses of personalisation value and differentiate itself from its competitors. are where “brands use outdated or irrelevant information to target customers, which in turn The “privacy paradox” (Gartner, 2019) is that cancels out any benefits of personalisation – even “despite having less trust in brands to use their creating an overall negative customer experience data ethically, millennials are more willing as a result.” (Gilliland, 2019). This has given to provide companies with information in data usage and personalisation a bad reputation exchange for convenience and personalized where “only 12% of consumers say they get experiences” (Gartner, 2019), supported by “64% customized assistance from brands” (Gartner, of respondents now expect an individualised 2019). Alongside arguments for fashion’s laggard experience (Gilliland, 2019). This demonstrates that more brands need to view personalisation as “symbiotic opportunities” (Gartner, 2019) and bring it to a willing consumer base. Figure 39: Assorted Magazines.
38 39 Covid-19
the lockdown scenario pushing consumers who might not normally use technology as their main he 2008 financial crisis hammered content source to get to grips with it, therefore “Tprint advertising and, as economies recovered increasing its power and influence. slowly, much of that money, instead of returning to newspapers, went to digital advertising, in Another facet to Covid-19 threatening print is its particular Facebook and Google. (Jackson, 2020). over-reliance on advertising. In the US, “the least The Covid-19 crisis is expected to create a much expensive ad on the Vogue rate card is $70,978 for greater recession globally. With “history suggests 1/3 of a page” (Alley, n.d. ). Even luxury fashion that a wider recovery will not be mirrored by print houses will feel the sting of the pandemic and advertising that will pose an existential threat will be less likely to expend their limited funds to many newspapers and magazines” (Jackson, on a costly print advertisement. This supports 2020). Titles developing new strategies to bring “Digiday’s report, that 88 percent of publishing consumer back to print are now being forced executives expect to miss their revenue targets into producing more online content in order to this year” (Fernandez, 2020). maintain relevance during the lockdown period. With editorial teams stuck at home during the During the lockdown people are relying on lockdown period “magazine print teams will see streaming films, music and engaging in online their creativity tested” (Fernandez, 2020), as social forms of content to stay connected with the outside distancing prevents any fashion shoots to take world and occupy the mind. Consequently, online place. Although, restrictions can often produce content companies are thriving, Netflix’s customer the most compelling outcomes. During the base “have almost doubled in the first quarter of lockdown period, fashion magazines globally are the year” (Instagram, 2020). This could be due to presenting meaningful and thought-provoking covers through artwork, zoom screenshots and incorporating Covid-19 rather than ignoring it.
Figure 41: Man in a haz mat suit reading a newspaper.
40 41 Figure 43: Vogue Portugal cover.
Time out:
“Entertainment magazine Time Out has gone online-only for the first time in its 52-year history, and been rebranded Time In” (Jackson, 2020). This is a resourceful solution that has not only created significant new coverage and buzz but is a necessary strategy in order to survive the lockdown period.
“London’s free publication had maintained or built circulation by giving print copies away, but the looming introduction of mobile data reception on the Underground was already threatening to dent their readership (Jackson, 2020). Figure 42: Grazia 2020 cover.
Figure 44: New Temporary Time Out cover.
42 43 Figure 46 GQ Middle East cover. Figure 45 Vogue Italia April Cover.
Li Edelkoort proposed an ‘anti-fashion’ manifesto (The Business of Fashion, 2020) “offering of editors wonder about the ethics of jetting all Having discussed multiple factors which explains Its strategy is not to take-over the content provocative critique of the industries over over the globe to get the shot.” (Schneier, M., arguments for and against print magazines and industry but instead may reset how we consume consumption problem” (The Business of Fashion, 2020). “Spending what can be tens of thousands content; such as demographics, technology and content, appealing to the consumer demands 2020). She has since stated that this pandemic of dollars on a single shoot” (Schneier, M., 2020) more recent issues of Covid-19 the gaze into for personalisation and involvement processes is the opportunity we need to begin again and was being restrained even before the virus, but what the future holds is supported by ideals of within purchases. break the fashion industries abusive relationship during the pandemic it is “no longer feasible, a multi-channel and personalised approach. “By with our planet. “If we decide to reinvent society, possible, or safe” (Schneier, M., 2020). combining a cost reduction drive with expansion reconstruct and completely resync the systems into customer focused revenue streams, we could start with a blank page” (The Business Industry insight reveals that “we’re not allowed to publishers can future proof their commercial of Fashion, 2020). do photoshoots with gorgeous, inspiring imagery strategies and ensure their survival” (Woodcock, “In some respects, the Coronavirus for our pages, and teams are conducting faceless 2019). is simply accelerating existing One such example is the environmental meetings which makes sharing ideas and working trends away from print that were implications of creating content, such as a fashion as a creative team so much harder. But mostly, the In the next section, ‘The solution’ is one such affecting virtually all publications” shoot. Print has been coming under mounting biggest source of revenue, which is advertising, strategy which addresses the adversities both (Jackson, 2020). pressure by “shrinking budgets and a ravenous will be sharply decreasing across the industry online and offline fashion content face in 2020 demand for more content” (Schneier, M., as big brands tighten their belts to ride out the Britain. It will harness the benefits of technology 2020). However, “a more conscious generation economic crisis (Johnson, 2020). whilst not diminishing prints reputation.
44 45 The solution is a personalised magazine called a subscription service that delivers a different ‘Cure8’ which takes the consumers specific independent magazine every month for £7, this interests and pulls content of those varying again has no personalisation, instead sends one at Part 5: subjects and synthesizes it into a unique and random. This platform could benefit highly from curated magazine, delivered to the consumers a personalisation element to avoid sending a door in a physical format or accessible online. The consumer a magazine on a subject that they have base of this solution grounds itself as a ‘phygital’ no interest in. (Machuca, 2018) entity. A platform accessible online and on mobile but where the product The personalised aspect of Cure8 takes the form created is physical. of an extensive questionnaire that will help the platform gage consumers interests and dislikes in Similar platforms exist such as Curated (Curated. order to pull articles based on those interests. This co. n.d) which allows one to collate articles into questionnaire will cover everything from age, a digestible newsletter. This website is more seen gender, sexual orientation, location, education, as a career tool but lacks any personalisation. career aspirations, hobbies and others. Additionally, Stack (STACK magazines. n.d) is
The YOU Questionnaire: 1. Full name: 6. Favourite Holiday destinations: ______1.______2.______2. Age: 3.______3. Gender: 7. Current Job: Male ______Female Non-binary Other ______8. Career aspirations: ______4. Sexual Orientation: Heterosexual Homosexual Bisexual 9. Hobbies: Pansexual (Please select as many hobbies as you would like) Other ______5. Where do you live? ______10. Values: A Solution (Please select as many hobbies as you would like)
Phygital: Figure 48: Personalised questionnaire mock-up. Figure 47: Pink Petal flower imagery. 46 47 Pen portraits
These pen portraits demonstrate 2 different The product is considered an experience as it people, Violet and Alistair who, through mood incorporates the ‘immediacy’ of online, the board representation, demonstrates how the ‘interaction’ of the personalised questionnaire questionnaire creates their own unique version and the ‘immersion’ of the physical magazine. of Cure8. “These three conditions applied to phygital make With this proposed solution the power belongs the consumer feel more connected to the brand, with the consumer – the frequency of issues, the generate trust, reinforcement empathy, and content within the magazine and the format to improve the user experience” (Machuca, 2018). consume it on.
Figure 49: Into the Alistair: wilderness editorial.
Name = Alistair (friends call him Ali) Gender = Male Age = 25 Figure 50: Alastair Location: Manchester pen portrait Career =waiter, aspiring actor. Interest and hobbies = guitar, sports (rugby, ice hockey, basketball), street style/vintage, music, films.
48 49 Cure8 Mock-up Contents
4 Editor note of the month Page
9 Liam Hodges
11 Covid Fashion
15 What will happen to the Oscars post Covid?
19 Conversation with Paul Mescal
23 50 Sneakers
37 Rocketman
40 Manchester in the Moonlight
Cure8 Street style 45
57 Esquire stories
Love Letter 67 Surf n `turf
to Tarantino 73 football food 81 Tie-dye at home
93 Love letter to Tarantino Conversation with Paul dramatic reasons as to why he is the way he is.” Normal People normalises anxiety in a way that will reassure young people that you don’t Mescal Wonderland: have to have something wrong with you to have depression or anxiety, it’s an illness.
And the future? Paul Mescal would like to continue to tell stories like Normal People. “Now PAUL MESCAL is a good time to figure out the kind of stories I want to be involved with and relationship-drama Two young lovers embrace in a sardine tin – think there’s a real sense of community in small- is something I enjoy working on.” It’s wonderful it is the memorable book cover which appeared town stories, which can be positive, but when to see an actor this early on in their career everywhere from sun loungers, airports, harnessed in the wrong way it can be deeply taking control of the narratives they want to be negative.” billboards, bookshops to Instagram feeds back in involved with. “I won’t do a good job if I can’t the summer of 2018. It is none other than Sally buy into a story.” It’s a good job he bought into Rooney’s Normal People, a remarkable tale that has pioneered the literature for our generation. Which elements of Connell did Mescal resonate this one. Rooney’s razor-sharp, sparse novel details with from the start? “I think how inarticulate the complex love story between Connell and he is with someone he really fancies, especially Normal People will TX on BBC3 via iPlayer on Marianne, two teenagers at school together in from the start of the book,” he explains. “I April 26 and will be broadcast weekly on BBC1 County Sligo, then later Trinity College Dublin. recognised his inner monologue, when he’s from April 27 saying about ten words but what he wants to say Now, this millennial story of first love and is, “I really fancy you, can we kiss.” coming of age has been memorably brought What will to life in a 12-part series by BBC Three and Normal People also kicks off important Element Pictures. The beloved roles of Marianne conversations on mental health, particularly happen to and Connell sees the emergence of two with Connell. He is a character who first appears Your Personalised indestructible: confident, popular and healthy, extraordinary rising stars, Daisy Edgar-Jones the oscars and Paul Mescal. While there were fears that the but as the narrative transgresses, this image adaptation might not live up to Rooney’s novel, deteriorates, when he struggles with anxiety post Covid? these actors have created an addictive, bold and and suicidal thoughts. Tackling this involved Magazine breath-taking world of their own. personal experiences for Mescal, “I felt like Connell was representing a lot of people I know I meet Irish actor Paul Mescal for elevenses over and a community that I come from. A lot of Zoom, par for the course right now. He is fresh- these men appear to be healthy and in the prime faced and eager to talk. “I want to tell stories of their life, which is often not the case.” A raw like this. I like discussions about relationships, portrayal of mental health in young people at friendships and growing up. Those are the university in Ireland has not been represented conversations that trigger my imagination like this in television before. Alistair the most.” Normal People is the 24-year-old’s first major television role, after acting in high- BBC’s adaption of Normal People - First Look profile theatre productions across the country. Connell and Marianne red One of these was the theatrical adaptation of BBC/Element Pictures/Hulu Issue 15 Louise O’Neill’s novel Asking For It, a story of sexual consent set in the small Irish town of One parallel with a YA series that could be made Ballinatoom. What with Normal People being is Euphoria, but as Mescal rightly points out, partly set in County Sligo, there are similarities “In Euphoria, Rue is depressed and the writer between these two narratives. Why have the is giving her reasons, because she’s addicted settings of these narratives been so effective? “I to drugs or the death of her father. Whereas with Connell, Rooney doesn’t give you any big Wonderland Paul Mescal Article take from Wonderland.com Article take from Mescal Paul Wonderland Figure 51: Alistair’s Cure8 Mock-up. 50 51 Violet: Name: Violet Gender = Female Age = 37 Location: London Career = make-up Art Director @Burberry. Interests and hobbies: travel – France, baking/bread, luxury fashion, literature, lgbt culture.
Figure 52: Wonderland Figure 53: Violet editorial 3 pen portrait
52 53 Cure8 Mock-up Contents
4 Editor note of the month Page
9 Reaching your 40’s
11 Covid Fashion
15 Paris fashion week musts
19 Let the good times roll
23 Make-up trends 2020
37 Slow fashion
40 The best pride marches in your area. Cure8 45 Sour dough
57 Buffalo Zine The best 67 Make an Entrance Make-up PRIDE 73 One size does NOT fit all 81 Pastries at home marches in trends of 93 Books of the month your area. 2020
2020 Makeup Trends: The 4 15 Looks You’re About to See This Bright Mascara Makeup Trend
It’s time to give your black mascara a break and Everywhere experiment with this 2020 makeup trend—a colored hue on your lashes. If you don’t think you can pull off a bright-pink mascara like this, layer on a deep-blue or green mascara instead. They’ll Okay, so 2020 definitely hasn’t gone as planned— a makeup newb, you might need to give yourself look neutral at first glance but def make people and I know I’m not the only one feeling a little some extra time to perfect the look. do a double take. hopeless right now. The one thing that’s boosting my mood through all this? Makeup. TBH, I think that now more than ever is the perfect time to 3 5 This Watercolor Makeup Trend experiment with new makeup, try out bold colors, This Glossy Eyeshadow Trend This Neon Makeup Trend and just go all out with your looks. Think about it: Even as someone who loves doing the most with This watercolor eye on Hunter Schafer is probably You can rock a little makeup around your house Over powder eyeshadows? This 2020 makeup their makeup, the allover neon trend you’ve the prettiest 2020 makeup trend you’re going to and snap pics for your Insta, or you can spend trend—aka glossy lids—looks just as fire as any been seeing on your feed is getting a tad tiring. see. It’s soft, playful, and so, so dreamy. And you time perfecting the skills you usually don’t have sultry smokey eye. And it takes, like, half the time. Thankfully, things are getting a fresh, minimalist also don’t have to stick to just one color either. the patience for (’sup, floating eyeliner). Add a few dots of eye gloss right above your lash makeover with this 2020 makeup trend. Instead Choose one color for your inner corner, another TRIED line, then use your finger to blend it up toward of sweeping a neon shadow over your entire lid, for the center of your lid, and a last color for the So after months of stalking the feeds of beauty your crease. try tapping a neon shade into the corners of your outer third of your lid. You’ll end up with a cool eyes for a quick hint of color. multicolor look like this. TESTED gurus, makeup artists, and celebrities, I’ve rounded up the biggest makeup trends of 2020 TRUSTED worth trying out during, and after, quarantine. 6 Prepare to screenshot these looks on your This Pink Lip Makeup Trend Your Personalised 21 RECIPES phone—these 2020 makeup trends are (and will be) everywhere. Forget a bold red lip. This 2020 makeup trend is all about making a statement with a bright-pink FROM TOP lipstick, like Candice Swanepoel does here. Not 1 sure what shade of pink to try? Opt for a hot Magazine PATISSERIE CHEFS pink with blue undertones—it legit looks good This Colorful Lower-Liner Makeup Trend on everyone. And if you want your pink to have IN PARIS serious staying power, go for a matte lipstick Instead of letting your top lash line have all the instead of a creamy one. fun, try out this 2020 makeup trend instead. All you have to do is line your lower lashes with either the same color or a lighter shade than the 7 This Floating Eyeliner Makeup Trend one that’s on top. It’s a super easy way to add a fun VIOLET element into your look. Your eyeliner doesn’t have to stick to your lash line anymore. Grab a liner and color outside the lines by re-creating this 2020 makeup trend: A 2 floating liner look, seen here on Shay Mitchell. Issue 9 This Animal-Print Eyeshadow Trend You’ll give off major cool-girl vibes with barely any effort, which is always the goal, right? It’s time to channel your inner Carole Baskin 8 and rock this 2020 makeup trend. IMO, whether you’re a fan of animal prints or not, you can’t deny that this look is super creative and cool AF. Warning: This one’s kind of intense, so if you’re
Figure 54: Violet’s Cure8 Mock-up. Cosmopolitan.co.uk Article taken from 2020 Make-up 54 55 Addressing part
The technological aspects of this solution utilise around specific topics. For example, a fashion a multi-channel strategy and adhere to the “less student has a project based on anarchist fashion frequent, special editions” (Woodcock, 2019) of the 1970’s. How convenient to have a platform format that Alexandra Shulman proposes. Today, able to find relevant articles and content about consumers “don’t really care about provenance, that topic; ones the student may not have been don’t really care if it’s editorial or advertising, don’t able to find themselves. “Providing additional really care if it’s produced in London or Belgium; services and unique2 brand experience will help all they care about is its quality” (Jones, 2016). promote loyalty among a consumer base that Therefore, compiling articles from both online is renowned for its fickleness” (Abnett, 2015). and offline sources will help people navigate the Therefore, a personalised magazine will engage saturated media landscape. Despite this, Cure8’s consumers and forge positive brand perceptions subscription service would charge people for this and loyal relationships. content which may be free online, highlighting a potential drawback to the solution. However, This solution could go beyond recyclable it is an extreme timesaver, instead of scrolling packaging by investing in recyclable paper and through countless pages of content with multiple sustainable ink. “Green start-ups are attracting tabs opened, each maintaining less attention, venture capitalists and are gaining new support Cure8 searches it for you. Thus, the trade-off of from socially responsible investors, green paying for certain articles that may be available investors, and popular crowdfunding platforms” for free online, its saves you needing to find the (Delventhal, 2019). This will fulfil consumer articles in the first place. demands for brands to take environmental responsibility and become a favourable way to This solution could even introduce an educational consumer print content. subscription. A version of the platform available to schools and universities that allow students and teachers alike access to curated magazines
57 56 Figure 55: Women in the bathtub reading a magazine. Figure 56: Pink Elle aesthetic Addressing
Alongside environmental responsibilities, Cure8 will be a platform that is dependent on fulfilling as many demands of consumers in 2020. This will part include a varied representation of all body and ethnicity types within all issues of cure8 and will be a core principal of the business.
Having the option of receiving Cure8 digitally or physically encompasses all generations and their preferred format to consume content. Appealing to the tech averse older members of the community and to the tech-native members synonymous with the younger generations. Moreover, it will appeal to the rising number of younger generations who prefer print, such as primary research respondent Lucy Trievnor. “I love print and I want print to stay alive” (Trievnor, 2020). It will appeal to those who adhere to their generation stereotypes but also the cultural pioneers who represent the antithesis to such stereotypes. Additionally, exhibited by figure ?, consumers are more willing to pay for a tangible subscription service than online ones and therefore shines a favourable light upon Cure8’s formatting option of whether you receive the end product online or physically. 3
58 59 Higher
High end of the market (Most profitable) Performance customers will pay for
trajectory
sustaining Mainstream Product Performance trajectory Addressing part Incumbent’s (e.g. vogue) disruptive
Many companies are “operating under the Low end of the market misconception that personalisation and Data will be gathered in the least intrusive way Entrant’s (cure8) (Least profitable) privacy are conflicting efforts, not symbiotic possible. After consent has been given, “machine opportunities” (Gartner, 2019). This solution learning decides what the best content for Time will embrace the advanced innovation of each customer is based on: purchase history, Lower personalisation and data usage to differentiate preferences, demographics, browsing and buying itself from its content rivals and break free of the behaviour, customer lifecycle” (Wilson, 2018). fashion industries laggard reputation. Social media will also be essential in helping to Cure8 can co-exist alongside certain measure “Technology is highly contingent on their create a comprehensive understanding of the outside of anyone’s control, such as the lockdown customers willingness to embrace and use the new It is imperative that this solution should go to individual4 to aid the personalisation process. period caused by Covid-19. Content is still ways” (Meuter et al, 2003) and during this crisis extreme measures to ensure privacy adheres to being created despite the restriction lockdown technology has been a vital tool in maintaining “laws like General Data Protection Regulation” The disruptive innovation model (figure 57) has brought and machine learning can continue any shreds of normalcy such as staying in touch (Kantar, 2020). Cure8 must keep the consumer (Christensen, Raynor and McDonald, 2015) creating personalised Cure8 issues, delivering it to with friends and family, allowing people to work constantly informed with how the platform demonstrates how this solutions utilisation of one’s door. This will benefit all those experiencing from home and doing online orders just to name will use their data before, during and after personalisation and data allows Cure8 to secure lockdown, especially high-risk individuals a few. Consequently, the lockdown will push the subscription. Furthermore, full consent to use a strong position on the graph and produce an who can’t leave their houses to get their daily technologically averse to embrace technology data before signing up is crucial. The solutions accelerated trajectory within the content market. newspaper. Due to the lockdown, Cure8 and and its uses as a connection tool. Thus, Cure8 “personalisation initiatives should be designed This supports that innovation breeds swift growth other print subscriptions may be seen as a more is an important product that can keep people and implemented in an ethical and trustworthy and incumbents of the fashion industry such luxury and therefore desirable item. informed and entertained regardless of age or way; this means designing with a people-first as traditional fashion magazines that restrain location. mentality, rather than tech-first” (Kantar, 2020). opportunities like personalisation may ensure a On the other hand, for those who suffer with downwards trajectory. technological ineptitude, such as members of Figure 57: Disruption the baby-boomer community they may struggle innovation model from to navigate the solutions online platform to set- Christensen, Raynor and up accounts and complete the questionnaire. McDonald, 2015.
60 61 Other benefits Benefits Limitations
• Appeal to nostalgia associated with print. • Potential for data breaches: “63% to 64% • “Good quality materials and well thought finds that we’re more concerned today than out design not only makes your brand stand we were this time last year” (We Are Social, and limitations: out as one of worth. But is also something real 2020) (see appendices 1). that conveys permanence and credibility” • Fake news: Another statistic show a 2 % (Urban River, 2018). rise in distrust for “things that they see and • Prints association with trust. hear on the internet” from 54% to 56% (We This table highlights other key strengths to the On the other hand, pushing the very real and • Environmentally friendly – only printing Are Social, 2020) (see appendices 2). solution such as cost advantages. Furthermore, growing worries of fake news and data misuse what’s actually needed, not printing mass • Crossover with article already read by Kantar has highlighted “that usage experience aside, how will Cure8 hope to gain access to numbers that may not be sold and eventually consumer/ existing subscriptions. is the third most powerful touchpoint for content from established publishers like Vogue thrown away. Additionally, those choosing • Immediacy issues: waiting for the print generating brand impact across all categories” as this may risk tarnishing the publishing house’ to receive it digitally means not printing it version to arrive at your door. (Southgate, 2020) and presents how this solution reputation due to not controlling all content. entirely. • How do you get publications and content utilises multiple trends; identified by researchers; However, the ramifications of Covid-19 may • Omni-channel approach. brands to allow you to see their content for that will give companies an differentiated strategy throw traditional print into the danger zone; • Personalisation = creating unique products a magazine not their own, may undermine to stand out amongst the saturated content they may have no option to take the revenue this that are intimate and individualised. their profits and reputation? landscape in 2020. platform would offer in exchange for access and • Involvement of customers via questionnaire, • Some may think it’s too gimmicky. usage of some of its content. choosing format, how many issues you want per annum = experiential product.
Figure 58: Benefits and Limitations List.
62 63 Conclusion
Within this report, the multi-faceted issues that companies investing in print such as Highsnobiety concern the print industry and content as a show that traditional print is making a comeback. whole have been discussed in depth, regarding Marie Claire may have jumped ship to the online the past, present and future concerns. What was market but there are those who see prints value in discovered was that the battle between print 2020 and will continue to fight for it. and online content may at first sight show the dominance of online. As the print industry profits Content companies that approach their distribution continue to decline by internal restrictions, strategy as a multi-channel opportunity have the shifting demographics and external macro issues best chance of not just surviving but thriving like Covid-19. It limits their creativity, sales and in the content battle. The solution proposed in has forced them to adopt a more online specific Part 5 is one such multi-channel strategy which strategy. This report revealed that our reliance differentiates itself by utilising the strengths and need for technology continues to grow and of both industries and aligning itself with the online forces such as social media have pushed changing consumer demographics and demands. the offline industries into the danger zone. It “brings the online and offline world to real life in a new and unexpected way and create a visual Despite this, Print is not done fighting just yet. world that broke through the clutter” (Hawkins Analysis of younger generations appealing to and Bishop, 2019). print for nostalgia is synonymous with the rise of records and CD’s. These “cultural pioneers” (Milner, 2020) bring hope that the print industry will continue while there is a consumer base demanding it. Moreover, evidence of online
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