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Bratz Big Evening Out At Bratz Video games

By robert

Rock The Celebration In Horny Sequins

Lots of people resist the urge to pay thousands of dollars for a wedding planner and choose to go the DIY route and plan their own weddings. Ivory is a extremely popular marriage ceremony gown color, and often seems beautiful in opposition to pores and skin tones which might be washed out in opposition to the usual harsh white clothes. I found all these pretty wedding clothes right here There are tons of more wedding ceremony dresses available in all shapes and sizes, so it is possible for you to to find your soulmate gown. Based on their tradition, the black bridal gown represents her character, which will be revealed to the groom on the marriage day.

If you happen to’re stuck and still looking for the perfect bold, coloration marriage ceremony dress, try looking at mid- to high-finish promenade gown designer lines. Promenade ballgowns are sometimes just as formal and as nicely-made as many marriage ceremony attire, and the one thing that makes a marriage gown a marriage costume is that you put on it to a marriage.

The bride may also go for crimson or white-colored gowns, that are equally acceptable within the marriage ceremony. The classic Spanish long evening dresses marriage ceremony attire are designed in the same elegant means as the marriage robes, but with a little Spaniard twist to them. Historically, these dresses have been thought of incomplete with out a black lacy veil or a mantilla, so one can determine to wear both of those, or let go of it in keeping with one’s likings. My ip . The marriage clothes can be incomplete without the bride carrying a hand bouquet of orange blossoms, whereas strolling on the aisle.

Related Articles:

How To Donate Human Hair

By robert

The Use And Goal Of Tresses Extensions

It’s a huge money-maker , almost rivaling Christmas Halloween decorations and costumes abound in native shops. The result’s a beautiful trying, long flawless hair with a styling that’s bound to show heads whenever you go. Although donning these wigs can sometimes show to be hectic however nothing could be compared to the smooth and glossy texture that they possess and the stylish yet natural look that they offer. Having a snug match, these human hair lace front wigs may be worn on any occasion to reflect your fashion.

You may rest assured from the number one Canada’s provider of Premium Grade A and Remy human hair extensions, because all of their hair extensions are constituted of 100% actual human hair. The clip in hair extensions made by 100% human hair will be straightened with flat iron, curled, dye the hair, hairdo and many extra issues that can not be executed.. (learn extra) With a great food plan, wholesome lifestyle, and the use of superior high quality merchandise, rising lush hair turns into kid’s play. Create coiffure would do harm to your hair too though you can get a brief focus.

The worst have been these actually cheap ones that sat unnaturally on the wearer’s head. Thankfully, some of the wigs accessible these days, are virtually inconceivable to discern. That’s as a result of the strategies for making toupees and wigs for males have improved dramatically. Lace Wigs Since that is the base for attachment of the hair in your toupee, it’s an necessary part of the whole. And the hair itself should be real looking and a match to your personal hair in shade and texture.

Related Articles:

The Best Ways To Lose Weight For Promenade

By robert

Designer First Communion Attire

Valentine’s Day is a day celebrated by all love-mates with great enthusiasm. When you’ve got big hips and love handles, then one of the best ways to design your own prom gown is to choose a dress that is fitted on the top and falls in a straight line from the waist. A really fashionable design for a prom costume is to go for a stupendous origami costume or a one shouldered costume. At first the idea of designing your individual wedding ceremony gown would possibly appear to be a loopy proposition, however there is no such thing as a better pleasure than walking down the aisle in your very own creation.

The style trend on marriage ceremony dresses design is all the time gradual as a result of on type of elegant wedding robes, essentially the most traditional design parts won’t ever be out of vogue and maintain be used on attire design. Ball gowns are one of many submit attire which may give a bold and spectacular look to your personality. In case you are bored of wearing the same old cocktail clothes as well as LBDs, then ball robes is certainly the right selection for you.

Whereas choosing from the varied available cocktail attire in online buying shops, one ought to take the size of the gown into consideration. Long strapless bridesmaid promenade attire, cocktail bridesmaid formals, and attractive mini bridesmaids attire. charlie st cloud A huge think about searching for the prom robe is unquestionably deciding whether it’s customized-made or ready-to-wear. domain data One can find beautiful ready-to-wear marriage ceremony robes which are close competitors of customized-made clothes.

Whereas today black should still haven’t turn out to be a particularly well-liked wedding ceremony dress color, it’s not utterly exceptional. In fact, style icon and actress Sarah Jessica Parker wore a black gown for Wedding dresses 2015 her own marriage ceremony to Matthew Broderick in a bid to ensure that there was no undesirable attention drawn to the marriage.

Related Articles:

Can Publisher-led E-commerce Succeed?

By Dannielle Blaker

This has been an on-going debate as we’ve witnessed leading online women’s retailers like Net-a-Porter, HauteLook and Groupe Gilt publish magazine-like content on their sites and employ top editors. In march 2012, Lucy Yeomans left her position as editor at Harper’s Bazaar for Net-A-Porter. Yeomans explains: “The media landscape is evolving radically and Net-A-Porter has a global readership of over 3.5 million women who demand the very best edit of luxury fashion worldwide.” This makes complete sense for online retailers, but when we look at it from a magazine’s point of view, there’s more at stake and several considerations to take into account.

Net-a-porter magazine

Contents is NET-A-PORTER’S online magazine that features editorial content on fashion and beauty. The look and feel is much the same as any reputable fashion magazine. You can ‘Shop this Week’s Magazine’ to find all of the featured apparel, accessories and make-up for sale.

While some magazine publishers will naturally succeed as online retailers (those in specialist markets), the majority will have to make essential changes in costs, strategy, and new business models. Most importantly, magazine-led e-commerce will need to carefully manage their reader/advertiser relationships as the move towards advertisers ‘paying-by-results’ will most likely change the economics of the magazine and could affect advertising revenues. There is also a high risk of loosing editorial independence of the magazine, which separated them from online retail sites in the first place.


ShopBazaar allows shoppers to shop by designer, type of item or trend. They can also view the Bazaar Book which features beautiful fashion editorials. Each featured item that’s available on ShopBazaar has a clickable ‘B

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SHOP NOW’ icon to add the item to your shopping bag. It’s a fast and simple way to shop straight from a Harper’s Bazaar magazine.

As an example, we can look to the Hearst Corporation who’s leading the way for publisher-led e-commerce. Their celebrated Harper’s Bazaar recently launched ShopBazaar in the US. It’s an e-commerce platform with editorial content and editor-selected items

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for purchase without being directed to another website. Carol Smith, VP, publisher and chief revenue officer at Harper’s Bazaar puts it perfectly: “We read to dream and aspire, but also to acquire.” The new site is a “true content-to-commerce venture.” The magazine plans to make its pages shoppable from every entry point. As for strategic partnerships, 80% of the merchandise sold on ShopBazaar is supplied by Saks Fifth Avenue and American Express sponsors tablet editions.

Hearst assures that editorial independence will not be compromised: “We’re not saying to the editor, ‘you should be reviewing pots and pans’. We’re taking their editorial perspective and applying it to what we feature.”

Many magazine publishers are considering online retailing due to the increase in online shopping. In the US, 9% of all retailing is online, 10% in the UK, 3% in the AsiaPacific. The GCC e-commerce industry is estimated to grow to $15bn by 2015, up from $3.5bn in 2010.

As ShopBazaar launched in September 2012, we’ll have to sit tight a little longer to see whether this trend catches on. My guess is that if one of the world’s most respected magazine publishing groups has decided to take the plunge, publisher-led e-commerce has a good chance at succeeding if managed correctly.

Arabic Online:

By Nick Gonzalez



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Beyond Clicks and Impressions: Building your Brand Online

By Julia Dolgodvorova

Let’s begin with a quick question: during a defined time period, ten people click on advert A

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and thirty click on advert B. Is ad B was three times more effective than A?

If your answer is yes, read on…

Today the Internet is at the core of communication and consumption behavior. As social networks develop, the Web has also become a place where a brand’s reputation and image is shaped. Advertising formats are more developed, videos more sophisticated and targeting tools more focused. Now that advertisers are better equipped for communicating on the Internet, they are gradually directing their budgets towards online advertising. Measuring online advertising performance is

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therefore becoming more and more critical.

Internet is known to be one of the only quantifiable media solutions; which, in my opinion, has a good and a bad indication. Of course, every marketer is keen on knowing how well ad

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campaigns perform. After all, we all like to get the best possible value out of advertising dollars invested.

Online advertisers can measure many things as modern analysis tools provide a broad range of metrics: impressions, page views, CTR, dwell times. The bad indication is: with all the reporting available, digital advertisers become too numbers-led, they miss out an important qualitative part of online advertising – the branding component.


Growing online or offline sales, generating leads, developing the brand experience… an online campaign can have many objectives. Direct response campaigns evaluate their success on consumers’ instantaneous actions. A click-through rate is therefore a suitable measure for this type of campaign because it directly correlates to the objective. However, brand-building campaigns are more complex in nature, and there is no observed correlation between display ad clicks and longer-term brand building metrics. Numerous studies have demonstrated that exposure to online display ads generates awareness and interest in a brand, whether clicked on or not. Measurement that focuses on the click alone considers only a tiny fraction of the economic value of an online advertising campaign.

The conclusion? If you are looking to stimulate a positive reaction towards your brand and increase an overall level of engagement, look beyond impressions and clicks, as they show no indication whether a campaign has fulfilled your brand objectives.

These are the three major tools Nervora recommends to use

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for boosting online brand experience for your consumers:

1. Count on Creativity Untitled.003-001

Try this quick exercise. What was the last great commercial you saw? Any come to mind? I’m sure several do. Now close your eyes and try to remember a display ad you saw lately. Anything? Hard, isn’t it? That’s because it’s almost impossible to tell a story in a banner. Brand experience needs great creative. Invest in your tools – engaging creative proves to perform better on both quantitative as well as qualitative sides, thus leading to more successful brand campaigns.

2. Use Brand Synergy

If you are looking to promote high-end shoes, do you believe your branding objectives would be better fulfilled, if you advertised on a home page of rather than some random fashion blog? I truly believe they would. Advertising alongside great digital content adds credibility to the brand, thus raising your campaign effectiveness. Positive brand association results in minimum media waste (as you display you brand to the relevant audience that is initially interested in a product category you are trying to promote), and better brand engagement (users view the ad as a part of the overall content, thus developing more trustful relationship with an ad, and consequently, a brand itself). Moreover, premium editorial properties tend to have richer formats that provide you with the better canvas to feature more engaging creative.

3. Invest in Content Production

Content marketing is the number one digital trend for 2013. It enables brands to share their story in long form and in their own words. The story can come in the form of blogs, articles, reviews, e-books or videos. It can be low-cost or it can be professionally produced. Interesting content that delivers informational or entertainment value can help any brand create better connection with its audience, which with time is transferred into customer loyalty.

All this being said, don’t get me wrong. I do believe in numbers. And I do think that carefully counting impressions, calculating CTR and ROI are essential for successful management of any brand strategy. My only advice is not to get too biased by numbers. Branding is an art rather than science, and not all aspects of it can be easily measured.

Behind the Great Content: The Story of Condé Nast

By Julia Dolgodvorova


Do any of these brands sound familiar to you: Vogue, Glamour, Vanity Fair, The New Yorker, GQ, Wired, Architectural Digest, House and Garden, Bon Appetite? I am ready to bet that almost every single one of us has an emotional connection to at least one of these magazines. We read them in print, on our iPads and online; we refer to them for fashion trends, beauty advice, political reviews, and interior designs. These titles define our lifestyle.

Now, how many of you know that all these magazines are published by one company? One publishing house that has been around for over 100 years? I am talking about Condé Nast. Founded in 1909, it grew into a home of world’s most celebrated titles, committed to journalistic integrity, influential reporting and superior design. Each magazine features world-renowned editors, writers and photographers – an incredible stable of talent unmatched by any other publishing company. Condé Nast is undoubtedly the world’s most premium publisher, with the reputation rooted in creating excellent, exciting content that is engaging, visually arresting and often groundbreaking.

It disappoints me to see how little people know about a company that is so well embedded into their daily lives. Therefore, I decided to devote this post to the History and Heritage of Condé Nast in the attempt to discover what is behind the great content that is published on glossy magazine pages.

Condé Nast Publications: The Beginning

Condé Montrose Nast (1873-1942)

Condé Montrose Nast (1873-1942)

The story of Condé Nast Publications began in 1909, when Condé Montrose Nast (1873-1942) purchased Vogue Magazine – a weekly publication about events, etiquette guidance and grooming advice. He transformed the magazine into a monthly fashion publication targeting affluent women. To keep up high publishing standards, Vogue started attracting best editors, photographers and illustrators. This transformed

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the magazine into the first-class publication, catering to the high society that appreciated affinity, luxury and status. In just under one year of Condé Nast’s management, the publication blossomed; earning the status of women most-renown fashion magazine ever existed.

The success of Vogue was followed by Vanity Fair that was founded by Condé Nast Publications in 1913. Two years later House & Garden was acquired, giving the start to the virtual magazine empire that helped shape the opinions and tastes of readers around the globe.

In 1959 Condé Nast entered the “Newhouse” era: the company got purchased by the successful newspaper proprietor – Samuel I Newhouse. Up to this day Condé Nast is run by the Newhouse family as a part of their Advance Publications Empire: in the States by Samuel I. Newhouse Jr (Chairman of Condé Nast Inc. and of Advance Publications); and globally – out of London – by Jonathan Newhouse (Chairman and Chief Executive of Condé Nast International).

Condé Nast Publications: International Expansion

Under the management of the Newhouse family, Condé Nast began its massive global expansion, acquiring more brands and bringing overseas the existing ones.

Being the 1st American publisher to ever launch abroad (British Vogue in 1916), Condé Nast had the know-how and the resources to truly embrace its global and forward thinking. By the early

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1990s, the company was publishing more than 30 titles in Western Europe, in Britain, France, Italy, Germany and Spain, plus editions in Australia, and was recognized as the leading international publisher of upmarket magazines in the world.

The decades from the mid-nineties to the present day have seen accelerated growth for Condé Nast as the company entered Japan, China, Russia, India, Mexico and numerous new markets in Asia and Eastern Europe.

Condé Nast Publications: Embracing Digital

Innovation and future outlook has been in the core of Condé Nast values. Sensing the Internet revolution, the company was among the first in the industry to capitalize on the digital growth and establish strong online presence.

In 2005, Condé Nast launched its first website: (“for people who love to eat”), followed by

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and the cascade of other titles. To respond to the recent rapid growth in popularity of tablet computers and smartphones, Condé Nast has diversified further into the field of multi-media publishing, launching over 100 specialized applications. In 2010 US Wired was one of the first major magazines to launch an

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interactive digital replica on the Apple iPad; and Vogue Germany became the first European fashion magazine available on the iPad.

Today, Condé Nast maintains and develops over 100 websites and 100 mobile applications in over 20 countries, and has developed a strong presence on the key social media platforms. Through these digital channels, Condé Nast currently reaches some 110 million consumers each month.

Condé Nast Publications: Relationship with the Middle East Arabia: Home Page Arabia: Home Page

Being a truly global company, Condé Nast has been quite late in approaching the Middle East. One of the main reasons for it was the perceived lack of female empowerment in the region. Since many of company’s fashion titles are build around the celebration of female spirit, Condé Nast (known for its editorial consistency and respect for corporate traditions/philosophy) was particularly careful in deciding whether to “Arabize” any of its properties.

The first-ever Arabic title that Condé Nast decided to bring into

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the region is –

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industry’s most celebrated fashion website. Since Nervora manages Condé Nast’s online advertising in the MENA region, we are proud to be Condé Nast’s local partner to develop the property and run it in the region on their behalf.

Launched in October 2012, Arabia is a fully bilingual (Arabic & English) online fashion title aimed to unlock the industry to the general public and define fashion in the region. The website was specifically developed to satisfy local taste: it features local trends and designers, covers regional events and has an extensive beauty section (in the Arab world, beauty is an important part of self-expression). Arabia is committed break stereotypes; educate Arab women about fashion and its heritage, as well as to serve as a cultural bridge between the Middle East and the Rest of the World.

We truly hope to see Condé Nast’s further expansion into the region, as there is a desperate need for localized editorial content of such high standard.

Join Us At

By Nick Gonzalez

We’ve had a great time blogging about Nervora’s work here on the Nervora blog, but from now on, we’ll be blogging predominantly at Digital Bites is a collaborative event and blog covering digital media in the Middle East with

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Letter from David Carey, President of Hearst Magazines

By Dannielle Blaker

As part of a company tradition, David Carey, President of Hearst Magazines sends out an annual company letter to all Hearst Magazine employees highlighting the year’s successes and new initiatives for 2013. With Hearst as one of our major publishing partners, we thought it would be great to share it with you, our visitors, as well.

I’ve highlighted several important notes related to digital that are worth keeping in mind as trends from the US publishing giant are often followed or seen later on in the Middle East.

  • By the end of 2012 Hearst had 800,000 monthly digital subscriptions in the U.S. across iPads, NOOKs, Kindle Fires and Android devices—the highest in the industry. Those subscriptions are now generating profits after 24 months of investment.
  • More than 80 percent of our digital subscribers are new, and their engagement levels meet or exceed the high levels we see from our print products.
  • Cosmopolitan doubled the size of its digital edit team in December, with the goal of reaching 20 million monthly unique visitors.
  • The number of unique monthly visitors to Hearst websites grew by more than 30%.
  • The company’s digital leadership team is working on plans to “future-proof” our digital business models for a world where more than 50 % of our traffic will be on small screens, and our readers will demand fresh, high-quality content from our brands around the clock.


Here’s the original letter:

David Carey Hearst President Dear Colleagues,

Happy 2013! Welcome back after what I hope was a wonderful holiday break for each of you. If you were minding business at the office last week, I trust you also found it a peaceful place to be.

As we begin a new year, I want to take stock of our company’s accomplishments in the last year and look forward to what’s on tap for the coming one.

We have been thrilled by consumer response to the new print products we introduced, led most notably in the U.S. by HGTV Magazine and, globally, by 10 new Hearst international editions, including Esquire in Singapore and Colombia and Harper’s BAZAAR in Poland. We’re also enthused by the pace at which our content is ricocheting around an increasingly mobile world. At the

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end of 2011, we had 39 million monthly page views on mobile devices; by the end of 2012 that number had grown to 186 million.

But no question, 2012 will not be remembered as mellow in either media or meteorology.

Many of our businesses soared and produced record results. Others faced challenges, and the teams behind these brands have put in place fresh thinking for 2013. While in the past our businesses tended to move in unison—collectively, up or off—I believe that the variability and volatility of performance is here to stay, which puts a greater emphasis on the impressive can-do spirit and creativity of our teams.

Whether you were doing business in sunshine or in storm, so many of you pushed ahead—continuing the enormously imaginative work of expanding our company’s reach and influence. I want to thank all the teams that make Hearst Magazines great.

The barometer of our 2012 performance marked important developments. Our core print brands were honored with a raft of prestigious awards: three National Magazine Awards, total domination of Advertising Age’s A-List, including Magazine of the Year Marie Claire and Publisher of the Year Nancy Berger Cardone, numerous Folio: Eddie and Ozzie Awards, and an Adweek Hot List nod for HGTV Magazine.

More of our greatest brand hits last year:

• ELLE had very strong growth in its first full year of Hearst ownership, gaining market share and becoming our second-largest business in the U.S.

• HGTV Magazine, created in partnership with Scripps Networks, ended its first year with nearly 700,000 paid subscribers, producing average monthly newsstand sales of more than 250,000 and strong reception from advertisers. This year, the title will move to 10 issues annually.

• Harper’s BAZAAR had a perfectly executed redesign that has been a hit with readers and advertisers, and Good Housekeeping introduced a new look and feel in its January issue, a front-to-back revamp driven by extensive consumer research and testing. Now under way: a dramatic restyling of Road & Track and a new direction for Redbook.

• Marie Claire’s powerhouse publishing team delivered the most revenue ever in the magazine’s 18-year U.S. history.

• Already the No. 1 epicurean magazine on the newsstand, Food Network Magazine had a sales jump of 18 percent last year and earned the top spot for ad pages in its category. Projected FNM circulation for 2013: 1.55 million.

In keeping with our UNBOUND positioning, we made impressive gains in digital media. By the end of the year, we counted nearly 800,000 monthly digital subscriptions in the U.S. across iPads, NOOKs, Kindle Fires and Android devices—the highest in the industry. Those subscriptions are now generating profits after 24 months of investment. And how exciting to see how this business is developing organically: More than 80 percent of our digital subscribers are new to our files, and their engagement levels meet or exceed the high levels we see from our print products.

We achieved important digital milestones all across the company:

• The number of unique monthly visitors to our websites grew by more than 30 percent. Our brands have driven an explosion in social engagement with their audiences; Hearst has 7.7 million Facebook fans, 4.7 million Twitter followers and 5.5 million Pinterest followers, including the No. 1 brand on Pinterest, Harper’s BAZAAR.

• Cosmopolitan doubled the size of its digital edit team in December, with the goal of reaching 20 million monthly unique visitors. The magazine also used a multi-pronged social media strategy engineered by iCrossing to welcome new editor in chief Joanna Coles: 18 million tweets announcing Joanna’s move were sent in just a few hours. (The brand is also active on the TV front: Watch for Cosmo as a star of a new Mark Burnett series debuting in February.)

• Jumpstart, a key asset from our Lagadère acquisition, had the most profitable year in its history. Jumpstart grew to become the No. 3 website for auto shoppers, with more than 9.5 million monthly unique visitors.

• Innovation flows in all directions in our halls:

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Hearst’s popular foodie destination introduced a print special that was sold with the November editions of six titles at Wal-Mart, producing a 22 percent lift in single-copy sales.

We welcomed new faces last year and, in some cases, rearranged places. Chief Technology Officer Phil Wiser, who joined Hearst Corporation last January, quickly became a key resource for our technology teams. In addition to Joanna at Cosmo, we named three new editors in chief: Susan Spencer at Woman’s Day, Larry Webster at Road & Track and Anne Fulenwider at Marie Claire. We were also pleased to welcome Carine Roitfeld as global fashion director of BAZAAR, who, in an industry first, will create fashion editorial that will run in all 26 international editions of the magazine at the same time. This high-profile creative initiative with Carine is among my favorite rule-breakers of 2012 and paves the way for more global content sharing.

Benchmarking industry leadership took a number of creative forms at Hearst in 2012:

• We created the Hearst Design Group by consolidating the editorial staffs of ELLE DECOR, House Beautiful and Veranda under Newell Turner’s leadership, bringing a streamlined, nimble, European publishing model to the U.S.

• Again, in the spirit of not holding onto established orthodoxies, we changed the business models of some titles, including Woman’s Day and Veranda, shifts that have dramatically improved bottom-line performance.

• You will see more brand extensions this year based on last year’s success; Cosmopolitan for Latinas, Delish and ELLE Accessories will all increase their frequency in 2013.

• From its genesis as a column in Good Housekeeping, 7 Years Younger is now a book and a website with extensive social media presence—and the launch has been a collaborative effort across our company.

Always looking for new ways to connect with our readers, Hearst developed fresh, effective commerce initiatives last year, including and the House Beautiful Marketplace, a partnership with HSN.

After a year of close collaboration, the Cosmopolitan Collection debuted in September in 700 jcpenney stores nationwide. At year’s end, consumer sales were running more than $1 million per week. (Operating as entrepreneurs entails taking chances: Our 2011 partnerships CLAD and Gifting Grace were discontinued. There will be some swings and some misses—we learn and move forward.)

As you know, Hearst is the largest publisher of monthly magazines around the world, with 284 of our 304 editions outside the U.S. I’m pleased to report that in 2012 our international business grew by more than 50 percent. European shortfalls resulting from the ongoing

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turbulence in the economy were offset by the strength of earnings from our businesses in Russia and Asia—China, in particular, where ELLE has seen so much success that it moved to a semi-monthly publishing schedule.

Our other lines of business also made bold inroads in new areas. Hearst Integrated Media had its biggest year ever in 2012, selling more than 30 custom programs.

We welcomed new leaders, in the U.S., the U.K. and Latin America, to boost iCrossing’s digital marketing leadership. In 2012, iCrossing won two out of every three pitches and signed 30 new accounts—with its average deal size now 250 percent larger than two years ago. iCrossing’s fourth quarter revenues were the highest in its history.

CDS Global celebrated its 40th anniversary in 2012 and successfully focused on transforming its technology to offer new digital and e-commerce services and diversify its business across industries. CDS Global is a key part of the magazine industry’s tablet media infrastructure and at the same time is building business beyond media—it ended 2012 with nearly 20 percent of its revenue from non-magazine clients.

One thing that’s distinctive about Hearst is how important partnerships are to driving our growth, a key strategy established long ago by our CEO, Frank A. Bennack, Jr. We’re fortunate to operate joint ventures with many of the world’s leading corporations. (These ventures not only generate earnings, but also bring great talent—our just-named Hearst president, Steve Swartz, originally came to the company via a joint venture with Dow Jones). Because of our reputation of being such a good partner, we regularly receive inbound concepts from media companies looking to jointly create new products with Hearst. (So don’t be surprised if we test yet another new magazine by year’s end!)

Finally, a sad note and a heartfelt tribute: Helen Gurley Brown, the Hearst magazine editor who first made Cosmopolitan famous and single women proud to be smart and sexy, died on August 13 at the age of 90. She led Cosmo for more than three decades, leaving an indelible, personal imprint on several generations of women—and their men. Helen’s re-creation of Cosmopolitan produced profits that were quickly reinvested into a diversified set of businesses that helped build the modern Hearst Corporation.

Which brings me to 2013: Every member of the team has the chance to make a Helen Gurley Brown–level contribution, one that can have a long-lasting, positive impact on our company and colleagues.

Many are hard at work on achieving exactly that.

Esquire Editor in Chief David Granger and Publishing Director Jack Essig will soon announce a bold new partnership—an initiative that will dramatically expand the Esquire franchise. The brand also has big plans in the works to celebrate its 80th anniversary this year.

Our consumer marketing colleagues are collectively rethinking how we bring our titles to market by striking new partnerships with retailers—as they cast aside the “same old way” of doing business—and building world-class digital marketing capabilities.

The company’s digital leadership team is working on plans to “future-proof” our digital business models for a world where more than 50 percent of our traffic will be on small screens, and our readers will demand fresh, high-quality content from our brands around the clock.

The team at Hearst Magazines International is readying another dozen launches in 2013, from France to Australia.

And there’s so much more.

I’m also pleased to announce that in 2013 we will put greater emphasis on the training and development of our team. In the last few weeks we’ve had the good fortune to welcome to Hearst Tower inspirational executives like Facebook COO Sheryl Sandberg and HSN CEO Mindy Grossman to talk about how they are managing change at their companies. In 2013, we will significantly step up these programs and our exposure to some of the business world’s smartest minds. We will also invest more in digital training of all kinds.

Regardless of the headlines, change in GDP or cyclical trends, our teams are pushing ahead to create a successful 2013. This is the spirit that has put Hearst at the forefront of the industry.

Like you, I get a lot of e-mail newsletters. A few months ago, one contained an especially insightful passage that succinctly sums up the opportunities for our company and industry:

If one thing is clear, it’s that over the next 20 years the shortest distance from A to B is going to be anything but a straight line. To survive, much less to thrive, will require being both clever and smart. Clever means a willingness to try new things—be scrappy and make bold bets, even if they may not pay off. Smart means keeping your eyes on the year-2032 prize—be ready to cut off the experiments that aren’t working and cultivate your willingness to let go of the legacy as the time comes.

I am so proud of all the talented and smart men and women at Hearst who work to empower, educate and encourage our readers, advertisers and partners. In picas and pixels, you are simply the best, through all kinds of weather. And I know you are not alone—supported by family and friends who encourage you to do your best work and reach for the stars.

Thank you, again. I wish you a new year filled with personal and professional success and happiness.


David Carey
Hearst Magazines

Brand Safe Environments – Why it Matters Online

By Dannielle Blaker

Poorly placed Chanel No 5 ad

When Ad Placement Goes Wrong: Example of a Chanel No 5 ad campaign placed next to a gallery of celebrities without their eyebrows. Not the most favorable content by Chanel’s standards.

Brand value is incredibly hard to build yet easy to destroy. Brand value comes from consumer’s experiences with the product, but also the context in which that brand appears in the culture. Coke, and RedBull are careful to associate themselves with fun moments or extreme sports. Cartier and Chanel hold themselves up as beacon’s of seemingly unattainable luxury.

Brands create this context by advertising in the right environment that reaches the right audience, but also generates the right brand association. We’re very familiar with this in the offline world. Beauty products advertise in leading beauty magazines. Luxury automotive brands advertise in top automotive and lifestyle publications. However, as brands move online, they risk losing sight of how their brand is represented in the ad environment.

As the advertising industry continues to shift media spend towards digital, it’s essential that advertisers and agencies understand the significance of the ad environment. A brand safe environment protects brands’ reputation, impacts brand perception and purchase intent. By selecting relevant and safe destinations for each campaign, advertisers can feel assured that they’re using the best possible practice where as blind ad buying has a degree of brand damaging risk.

Ad Networks: You Don’t Know What You Can’t See

To understand why ad networks can be a risky investment, you need to understand their business model. Ad networks make money by maximizing response rates, be they clicks or conversions. They don’t make more money by optimizing brand value. They don’t care where your ad shows up, only if people click or convert.

While this works for some performance advertisers, it doesn’t work for brands that don’t sell online or who are trying to maintain their image. Moreover, consumer segments differ on how often they click on ads.

Screen Shot 2013-01-15 at 12.17.33 PM

The fact is, that the sites or audiences that generate the most clicks, might not be best for the brand. Take for instance the screenshot of this regional Dell ad running on a website that lists

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wallpapers for download. This ad likely showed up because desktop wallpapers are loosely related to computers, which Dell sells. But as far as generating brand value or sales for Dell, it makes no sense. People visiting this site likely don’t know the first thing about servers, let alone need one. However, people likely click on the ad because it’s placed right where users click to view wallpapers.

Making the problem worse, these clicks tell the network that the ad is even better for this site, causing it to be run there even more. Finally, this causes Dell to miss an opportunity to build awareness through a targeted buy on a site attracting technology professionals who would need servers. Instead, this blind buy encourages wasting money advertising to people who don’t care about their product.

Direct and Transparent Vertical Advertising: Build Brand Value with Control

Large brands are increasing their online ad budgets. Example: Cartier Winter Tale video advertisement in Billboard and MPU format on

To operate in this new environment, advertisers can do a better job by sticking to a bit of what they’ve learned in the offline world. Buy across sites you know, with advertising experiences you depend on means you can both spread awareness, drive relevant leads, and build brand value by

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associating with communities and publishers readers love.

While it may feel a bit self-serving, we operate our business this way because we believe in the value of brands and find it the best way to build a successful campaign that adds to a brand’s equity.

You only get this through investing in fully transparent vertical networks or directly in specific sites. The advertiser / agency should review sites and look at the content environment – who are the editors and how reputable are they? Are they industry leaders and do they break news first within their industry? How are the sites perceived?

At Nervora, we only work with premium editorial content from globally recognized publishers. We focus on environments where brands can thrive when displayed next to leading content. The publishers we represent only employ top editors who play a huge role in bringing the world’s most trusted content to the web. We encourage our clients to explore our sites to gain a full understanding of the brands, and the benefits of being associated with each title.

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