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Product School raises $25M in growth equity to scale its product training platform

Traditional MBA programs can be costly, lengthy and often lack the application of real-world skills. Meanwhile, big global brands and companies who need product managers to grow their businesses can’t sit around waiting for people to graduate. And the edtech space hasn’t traditionally catered to this sector.

This is perhaps why Product School says it has secured $25 million in growth equity investment from growth fund Leeds Illuminate (subject to regulatory approval) to accelerate its product and partnerships with client companies.

The growth funding for the company comes after bootstrapping since 2014, in large part because product managers (PMs) are no longer needed just inside tech companies but have become sought after across almost virtually all industries.

Product School provides certificates for individuals as well as team training, and says it has experienced an upwelling of business since COVID switched so many companies into digital ones. It also now counts Google, Facebook, Netflix, Airbnb, PayPal, Uber and Amazon amongst its customers.

“Product managers have an outsized role in driving digital transformation and innovation across all sectors,” said Susan Cates, managing partner of Leeds Illuminate. “Having built the largest community of PMs in the world validates Product School’s certification as the industry standard for the market and positions the company at the forefront of upskilling top-notch talent for global organizations.”

Carlos Gonzalez de Villaumbrosia, CEO and founder of Product School, who started the company after moving from Spain, said: “There has never been a better time in history to build digital products and Product School is excited to unlock value for product teams across the globe to help define the future. Our company was founded on the basis that traditional degrees and MBA programs simply don’t equip PMs with the real-world skills they require on the job.”

Product School has also produced the The Product BookThe Proddy Awards and ProductCon.

Its main competitor is MindTheProduct, a community and training platform, which has also boostrapped.

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Okendo raises $5.3M to help DTC brands ween themselves off of Big Tech customer data

While direct-to-consumer growth has exploded in the past year, some brands are finding there’s still plenty of room to forge ahead in building a more direct relationship with their customers.

Sydney-based Okendo has made a splash in this world by building out a popular customer reviews systems for Shopify sellers, but it’s aiming to expand its ambitions and tackle a much bigger problem with its first outside funding — helping brands scale the quality of their first-party data and loosen their reliance on tech advertising kingpins for customer acquisition and engagement.

“Most DTC brands are still very dependent on Big Tech,” CEO Matthew Goodman tells TechCrunch.

Gathering more customer review data directly from consumers has been the first part of the puzzle, with its product that helps brands manage and showcase customer ratings, reviews, user-generated media and product questions. Moving forward Okendo is looking to help firms manage more of the web of cross-channel customer data they have, standardizing it and allowing them to give customers a more personalized experience when they shop with them.

via Okendo

“Merchants have goals and want to better understand their customers,” Goodman says. “As soon as a brand reaches a certain level of scale they’re dealing with unwieldy data.”

Goodman says that Apple’s App Tracking Transparency feature and Google’s pledge to end third-party cookie tracking has pushed some brands to get more serious about scaling their own data sets to insulate themselves from any sudden movements.

The company needs more coin in its coffers to take on the challenge, raising their first bout of funding since launching back in 2018. They’ve raised $5.3 million in seed funding, led by Index Ventures. 2020 was a big growth year for the startup, as e-commerce spending surged and sellers looked more thoughtfully at how they were scaling. The company tripled its ARR during the year and doubled its headcount. The bootstrapped company was profitable at the time of the raise, Goodman says.

Today, the company boasts more than 3,500 DTC brands in the Shopify network as customers, including heavyweights like Netflix, Lego, Skims, Fanjoy and Crunchyroll. The startup is tight-lipped on what their next product launches will look like, but plans to jump into two new areas in the next 12 months, Goodman says.

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To stay ahead of your competitors, start building your narrative on day one

Having a unique product used to give you at least a few months of lead time over other players, but that advantage seems to matter less and less — just think of how Twitter Spaces managed to land on Android ahead of Clubhouse.

In this context, how do you stay ahead of your competition when you know it’s only a matter of time before they copy your best features?

The solution is messaging, says conversion optimization expert Peep Laja. Unlike features that can be copied and commoditized, a strategic narrative can be a long-term advantage. In the interview below, he explains why and how startups should work on this from their very early days.

(TechCrunch is asking founders who have worked with growth marketers to share a recommendation in this survey. We’ll use your answers to find more experts to interview.)

Laja is the founder of several marketing and optimization businesses: CXL, Speero and Wynter. In a recent Twitter thread, he highlighted common stories and narratives that startups can use, such as “challenging the way things have always been done” or “irreverence,” and came up with examples of companies that employ these tactics. We asked him to expand on some of his thoughts and recommendations for startup founders.

(This interview has been edited for length and clarity.)

Your site’s tagline tells startups that “product-based differentiation is going away” and that they should “win on messaging.” Can you explain the rationale behind this?

David Cancel, the CEO of Drift, said that famously in 2017.

Broadly speaking, any startup is competing on innovation or messaging, and, ideally, on both. Usually, you want to start with innovation — do something new or something better. However, competing on features is a transient advantage. Doing what no one else is doing won’t last: Sooner or later, you’ll get copied by big players or other startups, so innovation is not enough. Features are a transient advantage that lasts maybe two years, but rarely more. Meanwhile, having the right narrative and messaging can give you a long-lasting advantage.

Startups competing on story have a big advantage if they are bold because big companies optimize for being safe, and that often means being very boring, but nobody will call them out for it. In contrast, startups can be brave and polarizing on purpose.

Ideally, you start with innovation, and at the same time start building your brand as well. Once the competition achieves feature parity, you make people choose you because of the brand. It’s hard to be sustainably objectively better than others, but you definitely cannot be objectively worse.

You help startups do research to find and validate their strategic narrative. Can you explain this concept?

As startups get bigger, they realize that they need to communicate less on features and more on story. Their narrative needs to be connected to a bigger concept and be a strategic narrative. “The world used to be like this, but it changed, and our startup will help you in this new context.”

A fictional example would be selling a course of AI for marketers; ideally, instead of talking about AI, you’d lead with a story, explaining that AI and machine learning are an unstoppable thing that is going to change everything. The future is already here, but not evenly distributed yet. There is no stopping this train. You can get on it, or get left behind. Companies that adopt AI will overtake others, and marketers need to learn AI to adapt. This would make the product way more attractive … than selling it through features: “AI for marketers course. Seven hours of video. Top lecturers.”

This is also what I am doing with my company, Wynter. If you look at SaaS, there are 53 times more companies than 10 years ago, with hundreds of tools available in any given category — think of email marketing, for instance. And a striking thing about competitors in each category is sameness: They pretty much offer the same features. In other words, differentiation based on features doesn’t work anymore. Most companies also look the same and say the same things. Sameness is the default for most companies today. Sameness is the combined effect of companies being too similar in their offers, poorly differentiated in their branding, and indistinct in their communication. You’d think that companies would be all about differentiation these days. Curiously, the opposite is true.

Given that feature-based differentiation is a fleeting advantage, companies should compete on brand. That’s the new world we are in, and in order to win, you need to know what your audience wants and how what you’re telling your audience is landing on them. … This is what my company does, and that’s how I pitch it. As you can see, it follows the narrative I described earlier: showing how the world has changed, and explaining that what used to work is no longer adapted to the new reality that is starting to emerge.

How would you recommend founders anchor their startup to success cases?

Bring your best proof that the world has changed — with data to back you up — and then make a case that winning requires a new strategy. Then show winners and losers based on the strategy they have been using, and use it as new proof that it is best suited for this new world. For instance, if you are pitching product-led growth, you can give examples showing that it is working as a go-to-market strategy because we live in a new world where customers want to start using the product right away. You can give examples showing how this is working, and tie your startup to them.

For other examples, you could also look at what HubSpot CTO Dharmesh Shah does with community-led growth.

There’s also this startup shipping hardware to remote workers, Firstbase. The Twitter timeline of its CEO, Chris Herd, is a good example of what I am saying: Just look at how he is selling the narrative, not his company.

So first and foremost you sell a narrative, a point of view on the world. And only much later you explain how your company helps their customer win using this new strategy. The narrative is the context for the features, etc.

How can startups avoid getting it wrong?

Your narrative can miss the mark if it’s not about change in the external world and only internal to the company, or if you are investing in a change that is not happening that you are failing to make sound credible. To win on brand, you need to measure the effectiveness of your narrative.

How do you test that? If you do direct sales, getting feedback is pretty straightforward. In my sales demo, I talk about the narrative before going into the demo. If people ask for a copy of my deck, I know it’s hitting home. I also ask for feedback, observe if people are nodding, etc. If you are not going through this sales process — for instance, if you are doing product-led growth — you need to do message testing. This can be one-on-one or as a qualitative survey, but either way, you need to make sure that you are testing on your actual target audience.

We do that at Wynter — you can conduct message testing as well as for customer research, so you can survey people not just on your message, but also on their perception of the world. This helps you discover what in your sales pitch on your website is hitting home, what falls flat, how it compares to the competition and so on.


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When should startups start working on their messaging?

Companies should attach themselves to a narrative from day one because innovation is transient. Staying ahead of your competition through innovation forever is very rare. Winning on brand is more accessible. So before you have product-market fit, you need message-market fit. Potential customers will look at this. It can even be a moat: Instead of positioning yourself as a commodity (when you sell yourself through non-innovative features, you’re a commodity), you develop a story that people emotionally connect to. You’ll know it’s a moat if it makes it possible for you to charge more than your competitors. This doesn’t happen with a feature: It eventually becomes commoditized and expected. This is much less of a problem when you have a brand.

How should the narrative evolve over time, if at all?

Your narrative also needs to evolve as the world evolves; you always need to be scanning for what’s happening and the broader context. The rise of remote is an example of that; see, for instance, how HR company Lattice attached itself to it as it expanded from one feature to a broader offering.

This connects to a broader point, which is that we are going from mass market to smaller clusters. For example, we all used to watch the same shows, versus all the niche content that has emerged today. This can be good for startups because in most cases, they wouldn’t be able to afford to aim for mass-market appeal from the start anyway. But as they grow, their narrative may have to evolve. And there can also be a brand narrative and a strategic narrative at the same time, with the latter being the one that evolves over time.

In terms of stories, some of the ones I mentioned in my Twitter thread are more timeless, but even some of these might not work forever. For instance, the “David versus Goliath” story might not sound authentic once you reach a certain stage. I also gave the example of Wise “standing up for the people” and focusing on disrupting bank fees, but now that it is getting disrupted itself, it might have to change its narrative. Some companies don’t need to move away from their original narrative, but some do.

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Millennial Media’s Paul Palmieri launches Tradeswell, a startup promising to fix e-commerce margins

A new startup called Tradeswell said it’s using artificial intelligence to help direct-to-consumer and e-commerce brands build healthier businesses.

The company is led by Paul Palmieri, who previously took mobile advertising company Millennial Media public and then sold it to TechCrunch’s corporate parent AOL (now Verizon Media). Afterwards, Palmieri founded Grit Capital Partners, but he told me he decided to join Tradeswell as a co-founder and CEO because he was so excited about the vision.

Palmieri said that just as Millennial helped independent app developers get smarter about advertising, Tradeswell gives upstart e-commerce companies the data they need to compete with “the big platform behemoths.”

It’s no secret that a number of direct-to-consumer companies have struggled to make a profit due to challenging unit economics. Palmieri suggested that one reason for this is the fragmentation of their tools and data.

“If you’re selling something like Campbell’s Soup, you want to figure out, how is your tomato soup business and your chicken soup business?” Palmieri said. “Today, brands are saying, ‘How’s my Amazon business? How’s my Shopify business? How’s my Shopify business on Instagram?’ ”

So rather than relying on those platforms for data, Palmieri suggested brands want an independent platform that they trust to bring everything together, “where it’s a combination of a Bloomberg terminal plus a trading platform.”

Tradeswell’s AI focuses in six key areas of an e-commerce business: marketing, retail, inventory, logistics, forecasting, lifetime value and financials. Palmieri suggested that in some cases (like ad-buying), Tradeswell will replace existing software, while in other cases it will integrate.

“Think of us as a neural AI layer, where [a brand] might have different platform relationships, which are the fingers, and we’re the AI brain,” he said. “We’re giving brands insights and forecasts: If you make this change, we anticipate XYZ will happen.”

In some cases, like the aforementioned advertising, Tradeswell can also support full automation, so that merchants don’t have to worry about “setting up and tearing down hundreds of campaigns.”

The key, Palmieri said, is that the platform has access to the business’ full financials, so it can optimize for net margins, rather than simply driving the most impressions or clicks or sales.

While Tradeswell is only coming out of stealth mode today, it’s already been working with more than 100 brands. For example, Steve Tracy of Red Monkey Foods and San Francisco Salt Company said in a statement that the startup’s “unique, comprehensive, algorithmic approach has helped us grow sales, identify commercialization opportunities and forecast far more accurately.”

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Indianapolis-based Malomo raises $2.8 million to turn order tracking into a branded customer experience

Yaw Aning named Malomo, the service he launched for small businesses to turn their order-tracking services into branded customer experiences, as a tribute to his mother, who was a small business owner herself.

Malomo” means flowers in Swahili and it was the name of Aning’s mother’s small soap-making business which she built over the years — even as she was battling the cancer to which she would eventually succumb.

The small Indianapolis startup has just raised $2.8 million to expand its services providing a new marketing channel for the Shopify retailers of the world who can always use more ways to reach new customers, Aning said.

The financing came from the San Francisco-based firm, Base 10, and New York’s Harlem Capital, along with commitments from previous investors Hyde Park and High Alpha.

Aning came to entrepreneurship as an Orr Fellow, an Indiana program that takes 10 graduates and places them in high-growth companies. While Aning worked in corporate finance, he was always interested in the startup world, and started is first company, Pocket Tales, an online reading game for children.

That business was followed by Sticks and Leaves, a web design agency that gave Aning his first view into the opportunity that order tracking presented as a space for a better customer experience.

Along with co-founder Anthony Smith, Aning built a service that connects with a single click to the Shopify platform and creates custom, branded tracking pages for each brand. “It’s a landing page for a brand. They use it like they would use any marketing asset,” Aning said. “The strategy is to build up integrations to the other tools merchants use to create rich experiences leveraging those tools.”

 

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Fabletics’ Adam Goldenberg and Kevin Hart on what’s next for the activewear empire

Like plenty of other modern direct-to-consumer companies, influencer marketing has been an essential part of Fabletics’ journey. Actress Kate Hudson co-founded the company and co-CEO Adam Goldenberg believes that its network of spokespeople has been key to the company’s growth.

We were joined on our virtual TechCrunch Disrupt 2020 stage by Goldenberg and comedian Kevin Hart, who has been working as a brand partner for Fabletics.

“You can have the best product, which we believe we have, but if you can’t get it out there then you’re not going to be the leader that you want to be,” Goldenberg told us. “By having a very broad and diverse ambassador and influencer network, it allows us to become a very inclusive brand.”

Hart joined the company as an official brand partner earlier this year just as the pandemic took hold stateside and the company launched a menswear line. For Hart, the partnership is one of many relationships with brands and startups, but fits into his own lifestyle and thus made a lot of sense for him to work with, he says. 

“[A company I invest in] has to coincide with myself and my lifestyle. If I’m going to talk about it, I have to be true to it,” Hart told TechCrunch. “There’s a plethora of things that I’m involved with that people would be shocked to know I was a part of, but it’s because I have the eyesight for it and a love for it.”

The Fabletics menswear line that Hart has advertised, and served as a brand spokesman for, has seen major growth amid a broader spike in athleisure wear sales. Goldenberg is bullish on just how much growth Fabletics will see from its men’s line so early in its life cycle.

“It’s a big goal, but I think we could do $75-100 million in sales next year with Fabletics Men, which is our first full year with this line, which would be very, very fast growth,” Goldenberg says.

As the company firms up its offering in activewear, they’re also keeping an eye on what trends will help them grow. Fabletics has already been building out technology trying to connect online and offline user habits in its stores. On the heels of Lululemon’s major acquisition of Mirror, which it announced in late June, moderator Jordan Crook inquired whether Fabletics had its own interests in expanding its footprint beyond activewear.

“We really believe in the importance of living an active lifestyle, so we’re not ready to share it yet, but we’re going to be doing something very large incorporating fitness into Fabletics,” Goldenberg said.

Check out the interview with Hart and Goldenberg below.

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Brand power vs. product power

David Friend
Contributor

David Friend is the CEO of cloud storage company Wasabi, and co-founder of cyber security company Carbonite, recently bought for $1.4 billion. Wasabi is his sixth startup.
More posts by this contributor

Most tech companies — particularly B2B companies — either don’t understand the power of a brand, or do a really poor job of creating one.

An informal survey of a dozen of my young CEO friends showed that, given the choice, 10 out of 12 — 83% — would rather spend an extra dollar on product development than brand-building. It is dangerous (or at least foolish) to assume that the ROI on product development is greater than the ROI on brand building.

As a serial entrepreneur and CEO, I have had to make this choice many times. In 2006, I co-founded PC backup company Carbonite . I left the company five years ago after taking it public and I no longer have any financial interest in it, which is why I can write about it now — it was just sold for $1.4 billion to OpenText. There were many other backup products on the market at that time and many more appeared over the first five years of the company’s life. I would argue that Carbonite was slicker than most of the others, but essentially every backup product accomplishes the same result.

Unlike Carbonite’s competitors, we focused on our brand. That meant raising more money than we would have if we were just investing in R&D. But, after five years of investing in our brand, we had eleven times the brand recognition of any other consumer backup company and we dominated the market.

Here’s why: a study by Kettlefire Creative showed that 59% of people prefer to buy brands that they have heard of. Since none of our competitors had widely recognized brands, we got most of that 59%. Of the remaining 41%, we fought it out on other criteria and won most of that as well. Put yourself in the shoes of a potential customer looking to back up their PC. What do you worry about? Well, before we even launched the company, we asked PC owners to choose the five most important attributes of their ideal backup company from a list of ten possible attributes, and we found the following:

1. Trustworthy: you won’t look at my files or allow anyone to see them (1127 votes)

2. Peace of mind: when I go to retrieve my backup, it will always be there (811 votes)

3. Reliable: it backs up everything and doesn’t stop (696 votes)

4. Helpful: if I lose my computer, I want to talk to a human who can help me (446 votes)

5. Easy: it should be simple and require little attention (444 votes)

The attributes that didn’t make the top five:

6. Fast: backups happen quickly

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Videos lead brand creative growth with 3x increase since 2017

James Winter
Contributor

James Winter is currently the VP of Marketing at Brandfolder, a leading digital asset management solution; prior to joining Brandfolder, James was the Director of Marketing at AspireIQ where he grew the marketing team from zero to seven.

As brands pursue audiences online, they are producing more creative content than ever — particularly around Instagram.

In the past twelve months, Brandfolder‘s Brand Index (check out the full Brand Index Report at the end of this article) tracked an 80% increase in videos and other creative material targeted for the platform.

With the Instagram community being a highly engaged group, brands rely on rich, visual content to connect to them. With the proliferation of new Instagram features, like video, Stories, multi-photo carousels, and IGTV, each subset requires its own content, further inflating the need for more brand creative.

The growth in brand creative isn’t just due to audience demands, however. The shelf life of brand assets has fallen as more brands compete with other content (and each other) for user attention.

In 2016-2017, the average asset shelf life was 395 days. From 2017-2018, it was 280 days, with varying lifespans across file type and industry. That’s a 29% decrease in lifespan. Over the next few years, we predict this number will continue to decrease.

data index final pg 10 copy

Check out the full Brandfolder Brand Index Report at the end of this article.

Which means, as brands are becoming increasingly dynamic and getting serious about personalization, the need for brand creative, more frequently, will continue to skyrocket in order to stay current and relevant.

To bring this to life, think about the last professional sports game you watched. You noticed one team on the field was wearing a throwback jersey with an old school logo. At a different game, they were back to wearing their normal jerseys with the most current logo.

Later in the season, however, the team is wearing pink jerseys for Breast Cancer awareness. This is a prime example of a dynamic brand expressing their creativity while adapting to varying circumstances, events, and audiences. All of this necessitates fluid brand creative.

But what exactly is brand creative? In the broadest sense, it refers to the all-encompassing collection of online and offline creative assets that a business uses to represent its brand. When we refer to brand creative, we refer to assets of all types–like videos, social media posts, product photography, lifestyle imagery, sales materials, logos, fonts, 3d renderings, and much more.

At Brandfolder, we are focused on delivering intelligence about our customer’s brand creative. We house and manage millions of creative assets from companies of all sizes–anyone from small-scale mom-and-pop shops to large-scale Fortune 10 companies.

And within this massive creative data set, our data science team extracts actionable insights through asset scoring algorithms, prediction formulas, collections, classification tools, and uniqueness analysis, to name a few.

Through these analyses mentioned above, our data science team created the Brand Index– a collection of high-level brand creative trends that CMOs, brand managers, agency professionals, and designers should use to guide their strategic campaigns and deliverables. It was built on discoveries from tens of thousands of creative assets stored in our digital asset management platform from more than 6,000 brands between 2016-2019.

Some brands house asset counts as low as 60, while others house as many as 38,000 assets or more. Specific information analyzed within the Brand Index includes amounts of assets, file formats, asset orientation, asset shelf life, event-based interactions with assets, and more. This information was then combined with the customer’s industry and anonymized to remove any identifying and brand-specific information.

In the Brand Index, companies can learn things like why and how brands’ digital footprints are growing exponentially. From 2017-2018, total asset count on a by-brand basis skyrocketed by 81%. And, it’s on track to continue climbing.

data index final pg 3 copy

Check out the full Brandfolder Brand Index Report at the end of this article.

A major factor for this digital asset boom could be the increasing demand for rich and personalized media on multiple channels, putting an even greater emphasis on the need for a robust digital asset management platform.

Additionally, as CMOs and design directors are putting more time and effort into their brand creative, the need for understanding which assets perform better, when and where, will continue to rise. Brands are already taking advantage of optimizing their creative content based on rich insights.

Thus, by integrating testing data with a platform that provides asset-specific performance insights, brands will have the competitive edge they need to continue retaining and building equity in the minds of their consumers.

Our findings also show that companies should take note of the shift in file type and how brand creative needs to become increasingly dynamic in order to keep delighting their customers. Rich media files used for engaging and dynamic advertising are on the rise–with video being a key player.

Videos have become the go-to file format supporting a variety of marketing and business goals like sales, retention, upsell opportunities, customer experience, education, thought leadership, and more. JPGs still tend to be a brand favorite, however, gone are the days that these JPGs only live in one place. Asset versatility and responsiveness are critical for the increase of digital channels. Which leads me to my next point: brand identity.

Most brands now have at least four logo orientation and color variations that contribute to consistency and cohesion across their growing portfolio of channels. The brands that are succeeding in the marketplace have animated logos and other engaging asset types that they can switch out on any channel with the snap of a finger.

And as mentioned earlier, if the average shelf life of an asset differs by file type with a current average being 280 days or less, which file formats should brands continue to invest in order to maximize their ROI?

But, what does asset shelf life really mean? Asset shelf life is defined as the number of days between when an asset was created and its latest event date (the last time it was accessed, viewed, downloaded, distributed, etc.). An asset is just like a living, breathing creature. It moves from creation through purpose and finally reaches retirement or its, sometimes timely, archival.

Not all assets are created equal, however. With the creation of AI & ML technologies, brands are getting smarter about their content’s performance. High-performing brands are quicker to remove underperforming content from their arsenal and generate new brand creative to keep things fresh.

And with video on the rise, that also takes a big chunk of change out of marketing and creative budgets. Thankfully, but not ironically, we’re seeing that the asset types that take a larger investment also have longer shelf lives.

Companies should invest in a management solution for more expensive assets to ensure they are generating the maximum reach and profitability throughout their lives.

As brands look to scale their identities and creative asset production, as well as their distribution and delivery strategies, companies should take advantage of the Brandfolder Brand Index in order to ensure they aren’t left behind with the constantly evolving landscape.

Read the full Brandfolder Brand Index below:

 

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Bumble goes to print with its new lifestyle magazine, Bumble Mag

Bumble is the latest digital brand to try to extend its reach through a print publication. The dating app maker today announced the launch of Bumble Mag, a lifestyle publication it produced in partnership with Hearst that offers stories and advice about dating, careers, friendship and more to Bumble’s over 50 million users.

On the cover of the 100-page premiere issue is Lauren Chan, a fashion entrepreneur behind the plus-size workwear line called Henning.

Inside, the magazine is organized into four sections that align with the Bumble app’s different modes: “You First,” “You + BFFs,” “You + Dating” and “You + Bizz.” Here, readers will find celebrity interviews, features, advice, product guides, “daily mantras” and more.

Contributors in this month’s debut issue include Bumble advisor and the star of the brand’s first Super Bowl campaign, Serena Williams; writers, actresses and Bumble Creative Directors Erin and Sara Foster; Man Repeller founder Leandra Medine; jewelry designer Jennifer Meyer; and Away luggage co-founder Jen Rubio.

A digital brand taking to print is no longer a unique occurrence.

Airbnb has Airbnb Magazine, which arrives in the mail; Unilever’s Dollar Shave Club runs Mel Magazine; mattress brand Casper created Woolly Magazine in partnership with McSweeney’s; luggage brand Away has Here Magazine; Uber has rolled out several print magazines, including Vehicle, Arriving Now and Momentum; and even Facebook launched a print magazine, Grow, aimed at business leaders.

For Bumble, the magazine offers the company a way to introduce its brand to new customers as well as extend its relationship with existing users out in the real world. This is part of Bumble’s larger efforts in developing an offline component to its business. The company also runs pop-ups, hosts events and has spoken of plans to launch more physical locations — “Hives,” in Bumble lingo — sometime this year.

These moves also speak to Bumble’s aspiration to be more than just another dating app and Tinder rival.

The company instead wants to be known more broadly as a women-centric lifestyle brand where its users can network online and off, in all aspects of their lives — not just dating. For example, its Bumble BFF service helps women make new friends, while Bumble Bizz  is focused on business networking.

The company says the new magazine will be distributed by its 3,000+ brand ambassadors — marketers and event hosts who work with Bumble to promote its brand. Users can also request a free copy of the first issue within the app.

For Hearst, print efforts from online brands like Bumble represent a new line of business at a time when print is being challenged by digital solutions, like Kindle Unlimited or Apple News+, which are trying to transition print magazine subscribers to go digital-only.

“Bumble is at the forefront of inspiring women to make connections and take initiative in all aspects of their lives with its positive message of empowerment,” said HearstMade Editorial Director Brett Hill in a statement. “The magazine is a perfect example of how HearstMade is changing the face of custom publishing with hyper-targeted content that reflects the brand’s ethos in the most authentic way.”

Bumble Mag becomes available nationwide on Friday, April 5, says Bumble.

 

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