While once there was a distinct difference between the world of advertising and editorial, today the borders between the two territories are merging. The publishing business model is on the move, with the separation between commercial and editorial content consolidating. Here, we look at the modern definition of commercial publishing.
Commercial publishing explained
Commercial publishing - or content that receives funding from outside parties - is not a new concept. But this term no longer refers to a simple advertorial, rather a full-blown publication created solely to promote the sales of an e-commerce or physical consumer offering. It’s a movement spearheaded by a growing digital grasp that has allowed content to be created and distributed both cheaper and faster than traditional publishing. It’s also the result of changing consumer desires - shoppers are now educating themselves, and expect to be wooed by authenticity and promises of community. It’s the perfect environment for smart brands to grab a hold of, extending their audience reach with the embrace of editorial strategy. As chief strategy officer of Heart’s iCrossing marketing agency Adam Lavelle tells The New York Times: “The old line separating church and state is not gone, but is definitely a more blurry one. And brands that are authentic, not shameless or opportunistic, have a chance to create content that people will pay attention to.”
The new model
As the result of a growing interest in attracting and maintaining the attention of the modern consumer, traditional publishing models have changed. As Steve Rubel of Edelman Digital summarises to The New York Times: “Brands, especially those centered around lifestyle interests or luxury, are increasingly becoming media companies.”
The result is a slew of commercial offerings adapted from e-commerce models - think the likes of Porter Magazine, Mr Porter, The Iconic Magazine, ASOS, and ACNE Paper. The Business Of Fashion explains their purpose: “This new model puts commerce at the centre, with editorial content working to reinforce consumer engagement… It’s more about people coming to shop and lingering to explore some content, which helps to drive sales.” Consultant creative director for British retailer My Wardrobe Fiona McIntosh tells the publication: “It’s very much editorial being harnessed to drive retail.”
It’s a mantra being followed closer to home with publications such as Myer’s Emporium Magazine. Michelle Bateman, the publication’s beauty director explains its purpose: “It really comes down to giving customers product information in the way they’d like to receive it - it’s all about putting the audience/reader/customer first. An editorial-style environment is fantastic for sharing information in a way that’s both entertaining and informative, and it also allows for a much more immersive reading experience, compared to a straight product image and caption.”
But this can also relate to editorial content expansion on existing brand websites. ModelCo is one local beauty brand that has recognised the importance for consumer interaction. The brand’s founder Shelley Barrett explains that central to the brand’s embrace of commercial content is an understanding that the consumer craves community inclusivity: “We noticed a significant gap in the online beauty market and developed a website that delivered on two things - content and e-commerce. What we have created is a site that provides customers with informed and articulate content that helps to educate and inspire their purchasing decisions... The results have seen the ModelCo website become a significant source of revenue for the brand.”
What does this mean for publishing professionals?
To do this effectively, brands are turning to publishing professionals for help - creating a new media outlet of growing work opportunities for journalists. Social marketing strategist Reb Carlson says the key lies in clever engagement: “Brands must become their own content producers in order to engage with their audiences - and increasingly they’re doing it with the same editorial voice one would read in a printed fashion magazine.”
This mentality has seen a myriad of major journalism figures jump ship from editorial into the world of commercial publishing. Lucky’s creative director Andrea Linett moved to eBay, while British Vogue’s beloved Kate Phelan departed after 18 years to become creative director at Topshop. Perhaps most famously, former Esquire editor Jeremy Langmead went to Christie’s London as chief content officer, before joining Mr Porter as editor-in-chief. He explains his new role to Business Of Fashion: "It is content that opens a door on an e-commerce site. And it is content that brings context [to the product]... We have to get the story to [consumers]. That's why marketing and content are so vital and must work in tandem.”
Bateman advises brands to consult with traditional publishing professionals if they wish to follow suit: “I do think it’s important to remember that publishing professionals are best placed to do this. Just as selling a few things on eBay doesn’t make me a retailer, so too the ability to write a sentence doesn’t make everyone a journalist or editor. People who are trained in this field know how to engage their audience – and it’s not always as straightforward as it seems.”
The future for traditional publishing
For many journalists the rise in commercial content doesn’t replace the traditional, it’s merely another outlet for editorial exploration. As Bateman explains, an e-commerce publication is still a publication: “What’s important is how successfully it’s executed. Personally, I could happily look at every issue of Net-a-Porter’s The Edit digital magazine, simply because it’s well written and beautifully produced. The fact that it’s branded content produced by a big e-commerce retailer doesn’t bother me in the slightest.”
