Get featured in Flaunt

Flaunt is a magazine about creative work, which makes it a strong fit for some brands and a waste of effort for others.

Here is what it publishes and how coverage actually happens.

What Flaunt is

Flaunt is an established fashion and culture magazine covering style, art, music, film and the people working across them. It runs in print and online, and it has its own editorial team making its own decisions.

Its register is creative rather than commercial. It is interested in how something was made and what it is in conversation with, far more than in how well a business is performing.

Print and online work to different clocks. Online can move relatively quickly; the magazine plans a long way ahead. Treating them as one opportunity is a common and expensive mistake.

Its output ranges from short online pieces to commissioned features and shoots, and those are very different asks. A first appearance is far more likely to be a mention or a line in a round-up than a full profile.

Why a culture title is different

A business publication asks what you have achieved. A culture title asks what you have made.

That changes the entire pitch. Revenue, funding and growth are close to irrelevant here, while the creative idea, the collaborators, the imagery and the context are everything. Founders used to pitching business media usually have to rebuild the story from scratch.

The credential is also different in kind. It signals taste and cultural relevance rather than commercial standing, which is valuable to the right brand and meaningless to the wrong one. Work out which you are before spending anything, because the right publication is the one your buyers actually read.

The people involved matter too. Photographers, stylists, directors and artists carry their own weight with an editor, and a project with credible names attached is easier to place than the same project without them.

The routes in

• Earned editorial. An editor decides your work belongs in the magazine. Competitive, free, and entirely their call.
• Advertising. Paid space, identified as such.
• Sponsored or branded content. Produced to the title's standard and labelled where it appears. Legitimate, and not the same as editorial.
• Agency-assisted pitching. You pay for the work of developing the angle and taking it to the right editor, not for the outcome.

A mention, a place in a round-up and a commissioned feature all get called a feature, and they are plainly not the same thing. Anyone guaranteeing you editorial in a staffed magazine is promising something they do not control.

What makes a story land

Taste and a point of view, not a product announcement.

The way in is the work itself: what you made, why it looks the way it does, who you made it with, what it is responding to. Collaboration reads strongly at a title like this, because it places you in a context the magazine already cares about.

Access does a great deal of the work. A shoot, a location, a subject genuinely worth an editor's time, images that stand up on a page. A pitch that offers nothing to look at is asking an editor to do the hard part for you.

Timing gives it urgency. A collection, a release, an exhibition, a moment the title is already circling. A brand story with no creative idea inside it will not clear the bar, however well the business is currently doing.

Relationships beat volume. Editors at a title like this respond to people who send them the right thing occasionally rather than everything constantly, and who make it easy to say yes: assets ready, facts checkable, someone who answers.

What to prepare before you pitch

• Imagery. High-resolution, properly credited, cleared for use. This is not negotiable at a visual title.
• A one-line idea. If you cannot say what the piece is about in a sentence, it is not ready.
• The collaborators. Names, roles and what each brought to it.
• A date. What is happening, and when, that makes this the right moment.

If three of those four are missing, the pitch is not ready, and sending it early costs you the contact rather than saving you time.

What we do

We develop the angle, build the assets around it and pitch where the fit is real. You approve everything before it goes anywhere.

We will also say when the fit is not real. A consumer culture title is the wrong home for a business story, and a logo on your site is not worth paying for if the audience was never yours. Where a different route serves you better, we place you in outlets where we can actually deliver.

We are also clear about what we do not control. An editor decides what runs and when, and a title working to a print schedule can move or drop a planned piece for something more current.