I was interested to read a couple of weeks ago that Tyler Brûlé was launching a new magazine Monocle (with supporting multi-media website) targetting “the most interested, interesting people“. What really caught my eye was that the new monthly magazine aims:
to satisfy a demand for serious news stripped of PR-generated content.
This is to be a text-heavy, serious publication (over 50,000 words and features such as an 18-page report into the Japanese navy and a 10-page piece on China’s involvement in Africa) to attract:
“members of a jet-setting global elite who want to read about business, culture and current affairs but are also fascinated by design, fashion and all things visual.”
Serious investment money (€7 million) is backing the magazine, drawn by Brûlé’s track record in launching Wallpaper (since sold to Time Warner) as “the most authoritative and influential design magazine in the world” in 1996.
Monocle aims to be a public relations free zone – with images and stories originated by the editorial team and all expenses (inc travel) funded by the magazine.
‘There is not one story generated by a press release,’ Brule says. Nor are there ‘freebies’ or cosy trips laid on by friendly PR agencies trying to procure favourable coverage for clients.
HOWEVER the reason why the magazine sells for £5 and requires a circulation of 60,000 to be profitable is that 65% of income is planned to come from advertising generated from luxury goods advertisers, all paying full rate (ie no discounts), despite there being no research to prove the viability of the publication.
Brûlé’s PR-cynicism questions the credibility of his previous magazine where presumably contents were inspired more by what was being plugged than any editorial integrity. Is this unusual?
I applaud Brûlé’s commitment to journalism and agree there should be independent judgement when selecting what to write about – but does that mean PR practitioners must be avoided? Are journalists that easily tainted by the experience? Have they rolled over in letting PR call the shots in the glossy mags – and if so, why?
Adrian Monck met the confident Brûlé in the 1990s and, although applauding him for launching a magazine, says of the first edition: “It felt like a catalogue“.
Which makes me wonder if that is the inevitable result of snuggling up to advertisers rather than working ethically with professional public relations practitioners?