“When life itself seems lunatic, who knows where madness lies? Perhaps to be too practical is madness. To surrender dreams, this may be madness. To seek treasure where there is only trash. Too much sanity may be madness. And maddest of all, to see life as it is, not as it should be!”— Don Quixote de la Mancha Monocle, the brainchild of the expat Canadian magazine maker, Tyler Brûlé, was born in early 2007, a relatively awful year for the magazine business, not to mention the entire world. In that year alone, more than 100 print magazines folded—or, as Wikipedia terms it, were “dis-established”—among them: Life (again), Premiere, Red Herring, House & Garden, Jane, Child, and Business 2.0. Months later, the global economy was hit by the Great Recession.But Brûlé was coming out from under a rather lengthy non-compete agreement with Time Inc., after selling his previous startup, Wallpaper*, to the American media giant, and he was desperate to get back to the newsroom.Given the times, and the stream of fading print publications, one could judge Brûlé’s resolve as “madness,” as Don Quixote cried in the opening clip. Digital was all the rage, the iPad was knocking on the door, and the radiation of the frenzied dotcom meltdown was still slowly killing legacy media.“Madness”? Not if you know Tyler Brûlé. In his world, “life as it should be” is rich—a morning espresso in a bustling cafe with a crisp newspaper written and edited in the romance language of your choice, sorting out weekends skiing the Alps or lounging on the Med while riding the night train to Vienna.And then there’s the print—not only the magazine itself, printed on “upwards of nine different paper stocks, crammed with extremely niche articles about carbon-neutral airlines in Costa Rica and sleek Afghan restaurants in Dubai,” but also special edition newspapers, coffee table books, and Monocle-approved travel guides. (Someone forgot to tell Brûlé and his brilliant team of collaborators that print is dead).In a media culture traditionally obsessed with scale at any cost, Monocle’s modest 100,000 circulation belies a thriving multi-media juggernaut that confidently ignores the lure of social media. “We’re in a very fortunate position that we’re an independent publisher,” says Brûlé, “and we don’t have the commercial pressures of a big parent. And those commercial pressures can be two-fold: One is cost savings, but the other pressures are to go and chase after every new trend.”In fact, Brûlé thinks of Monocle as a family business.“We don’t set out to be pioneers, but also we’re a family company, and we can choose to do things quickly if we want to.”That same culture has manufactured the pressure to establish one’s entrepreneurial cred. You’re not the editor, you’re the founding editor, the founding creative director, the founding director. But when asked about how he thinks of and refers to himself, Brûlé answers simply:“If I think about ‘What do I do?’ I’m a journalist. I’m out to be a witness. I’m out to absorb, I’m out to interpret, and I’m out to communicate. A print-centric media phenomenon, created as a family business, led by a journalist. Surprising? Not for someone who’s been building a “life as it should be.”Here’s our editor-at-large George Gendron with Tyler Brûlé.
Print Is Dead (Long Live Print!) is a production of MO.D ©2021–2024