We have never viewed Digital as a replacement for print, but rather as an extension of the Brand – an experience, an object, something the reader takes into their hands and dedicates time to.
In an era of algorithms, fast content, and endless scrolling, premium print is once again finding its place. We spoke about this quiet renaissance – as well as the transformation of the publisher’s role in the world of events, digital platforms, and new generations – with Domagoj Glogović, CEO and Co-owner of Mediatop International, one of the leading lifestyle media houses in Croatia.
1.You have been in the media industry since 2005. You went through several cycles – from expansion to crisis and digital transformation. How do you look back today on those some twenty years?When I entered the industry in 2005, print was dominant, budgets were larger, and the market operated under completely different rules. Then came the global financial crisis, digital expansion, declining circulation, panic, and restructuring. Those who survived that period have serious resilience today. We have gone through all the phases – from the era of strong circulation figures to the moment when everyone was saying that print was dead. Today, we are living in a new stability. The industry is more mature, more rational, and more professional.
2.Your company has five portals and 12 magazines with a focus on lifestyle. How do you balance print and digital?
The lifestyle segment has the advantage of not being exclusively tied to daily news. It relies on aesthetics, high-quality photography, design, deeper stories, and context. That is something that print can offer better than any screen. On the other hand, digital provides reach and the ability to connect across all channels – web, social media, newsletters, and video.
- You mentioned the renaissance of print media. Many would argue that this is a bold statement. What do you base that view on?
It is based on concrete data and experience from international markets. At the FIPP WORLD MEDIA CONGRESS in Madrid last year – which brings together the world’s leading media companies – major global publishers clearly stated that premium print is growing. Not mass-market titles, not tabloids, but high-quality, luxury, specialized publications. In a world of hyper-production of digital content, people are overwhelmed. Algorithms serve them hundreds of pieces of information every day. Print, especially in the luxury lifestyle segment, becomes a filter. Curated content, slower reading, paper quality, design – these become value. Those who know the market well are aware that even small Croatia has seen the launch of several new premium magazines in recent years. A premium product makes more sense today than ever before. People are willing to pay for something that has lasting value.
- How much pressure is digital publishing under from technological platforms today?
The pressure is enormous – especially from Google and its algorithms. A single algorithm change can reduce a portal’s traffic by 30 or 40 percent in a short period of time. That creates instability. News media are the most vulnerable. They are the most dependent on organic traffic and search. Lifestyle media are somewhat more protected because they rely on brand strength, loyal audiences, and social media, but they are not immune either. Small and medium-sized publishers that lack the resources for constant SEO optimization and adjustments are faced with a particular challenge. Digital has become a distribution game, not just a content game – and distribution is controlled by platforms.
- You mentioned the stability of the industry. How do you manage client relationships and payments?
Interestingly, today we have fewer problems with collections than we did about 15 years ago. Back then, there was much more non-payment and late payment. Today, advertisers are more professional, contracts are clearer, and the market is more mature. Of course, there are always exceptions, but it is no longer a systemic problem. In this sense, the industry is more stable than it used to be.
- What is the biggest challenge in business today?
Definitely staffing. Finding quality people has become a bigger challenge than finding advertisers. We notice a serious lack of knowledge about editing print media among journalists and editors. Print requires structure, a sense of rhythm of the issue, balance between text and photography, and understanding of formats. This was once learned in newsrooms through practice and mentorship. Today, almost no one teaches it systematically. On the digital side, the problem is different – an overreliance on AI tools. Artificial intelligence can help, but it cannot replace journalistic intuition, research, and an authorial voice. Too much generic content leads to a loss of identity.
- Does that mean traditional journalism is disappearing?
It is not disappearing, but it is being pushed aside. Speed has become more important than depth. Clicks are valued over context. But audiences recognize the difference in the long term. If everyone uses the same tools and produces similar content, the only differentiation that remains is authenticity. That is what we must insist on.
- How do you see Generation Z in newsrooms?
Honestly, it’s a complex topic. Generation Z has a different approach to work compared to millennials. They are less likely to commit long-term, more impulsive, and seek quick results. Sometimes it’s difficult to rely on them for long-term planning. On the other hand, they grew up in a digital world. They intuitively understand social media, algorithms, and formats like Reels or TikTok. Multichannel connectivity comes naturally to them, which is a huge advantage. The key is balance – combining the experience of older generations with the digital fluency of younger ones.
- Can print be attractive to Generation Z?
Yes, but not in the same way as before. Generation Z doesn’t buy newspapers out of habit. They buy experiences. If the product is aesthetically strong, luxurious, and collectible, it has a chance. We see that young people increasingly value physical objects: vinyl records, books with special design, limited editions. Print needs to be positioned exactly like that – as a premium product.
- How do you define a premium lifestyle product in print?
It’s a combination of top-quality content, exclusive interlocutors, exceptional photography, high-quality paper, and design. It’s a product you can leave on a table for months, one that has aesthetic value. Premium print is not just information – it’s an experience. In the luxury segment, brands still want to be present in such an environment because it gives them credibility that a banner ad can never provide.
- In your opinion, are news media the most vulnerable in the long term?
If we’re talking about digital, yes – the news segment is under the greatest pressure. Dependence on platforms, declining trust, competition from social media and aggregators – all of this creates challenges. If everyone publishes the same news within 3 minutes, audience loyalty is low. People click, read, and move on. On the other hand, platforms like Google, Facebook, TikTok, etc. they control the traffic. When an algorithm falters, the newsroom feels it immediately. Lifestyle media have an advantage because they offer aspiration, inspiration, and a visual identity. They build a relationship with the audience on a different level. Specialized and niche media also have a chance because they provide expertise. Mass-market, generic news portals without a clear identity will have the hardest time surviving.
- What is your view on the future of the media industry in Croatia?
I do not expect spectacular expansion, but I do expect consolidation and stability. There will be less improvisation and more strategic thinking. Print will not disappear. Digital will continue to develop, but with increasingly significant challenges related to distribution and platform regulation. The key will be building strong brands and a loyal audience.
- How has the role of publishers changed?
Last year, Mediatop International organized 12 client events, produced a huge amount of video content, carried out dozens of activations with target audiences, and organized concerts. This includes one of the largest media events in Croatia – the Hello! event at Lauba for around 1,200 guests. We also ran smaller, sophisticated, premium pop-up events for about 50 people for Marie Claire. We organize several events every year for Grazia, and the Summer Event has become a signature occasion with around 450 attendees.
Our longest-running brand, Ljepota & zdravlje magazine, is one of the few magazines in Croatia published monthly. Print remains extremely successful, and we have just redesigned its website. Marie Claire is our newest acquisition; the first issue came out last July and, in terms of advertising, it was the strongest print launch in the region in the past fifteen years.
Niche publications with lower production costs are also performing very well. Our portfolio includes the teen magazine OK!, which is the only Croatian magazine published monthly. Demand shows that children still engage with print. The living segment also demonstrates strength – Moj Stan, Moj lijepi vrt, and Brava Casa are successful with both readers and clients.
I certainly see the future in strong brands, premium products, and integration of content, events, and digital channels. Print will not disappear – it is simply in a state of continuous transformation.
- If you were starting over today, would you choose the media industry again?
Despite all the challenges – yes. This is an industry that is constantly changing. It is never boring. We have gone through ups and downs, but it is precisely those lows that have taught us resilience. I believe we are heading into a period in which quality will regain its value. And that is, in the long term, good news for everyone who takes media seriously.