Branded content has spent years trying to shake its "dirty" reputation. At BSME’s April event at The Peninsula, it felt like that argument might finally be settled.

As platforms like The Modern House continue to flood our Instagram feeds, the challenge of keeping pace with a fast-evolving $400bn commercial content industry has never felt more pressing. Editors are no longer simply arbiters of taste; they are increasingly required to think like strategists and business leaders, balancing creativity with commercial acumen.

At the BSME’s latest event, The Devil Wears Branded Content, at The Peninsula hotel, Maria Pieri, Editorial Director of National Geographic Traveller (UK), explored the rapidly narrowing line between brand and publisher. Drawing on insights from a panel of industry leaders – including Alex Herrmann, Director UK & Ireland and Head of Europe West at Switzerland Tourism; Andy Calton, Director of Brands and Content at Bauer; and Rachael Ashley, Group Content Director at Cedar – the discussion examined how cross-functional creative partnerships can drive both audience engagement and revenue, while maintaining editorial integrity.

The discussion made clear the rise of #sponcon does not signal the end of historically independent editorial judgement. Rather, this new era of paid content is creating significant opportunities for writers and publishers to pursue niche stories and more ambitious, far-reaching ideas (and careers) – albeit with the understanding that their decisions will face greater scrutiny.

As “digital-first” strategies become the default for brands, editorial teams are now competing with a growing wave of online-native creators and influencers. Yet there is real opportunity in this shift: bespoke, targeted and genuinely original campaigns are what cut through, offering publishers new ways to stand out, grow audiences and unlock commercial value — while also creating budget to support and expand ambitious editorial ideas.

Key takeaways:

Branded content is not bad. The “dirty” reputation attached to sponsored content is largely a thing of the past when it comes to readers’ opinions. “People don’t mind being sold to as long as it’s something helpful, that feels inspiring, different and engaging,” says Ashley.
Transparency builds audience trust. “As long as the content you’re creating has a value to the consumer, then that’s all they really care about,” says Calton. The trick to keeping readers on side is not “pretending it isn’t a commercial tie-in.” That way, they are more likely to be receptive to what you’re promoting.
Collaboration is key. “Creativity comes from everywhere,” says Ashley, so it’s important to view these campaigns as a “partnership” between brands, editorial staff and commercial teams. The most inventive strategies arise when everyone has the opportunity to share their ideas.
Thorough investigations still matter. “Content marketing is about finding stories,” says Head of Branded Content at National Geographic Traveller (UK), Flora Neighbour. There are times when a product or a client might not seem like a natural fit at first, but with deeper research, you often find a quieter facet of what they do that does align with what you cover as a publication. “It’s your job as a journalist to dig.”
Brief is everything. Brands must have a “clear understanding of who they want to reach and what they want to achieve,” says Herrmann. Listen to editors: if they don’t believe your product will actually serve their audience, then it’s time to go back to the drawing board and adapt.
Know the brand inside out. “Good content has to solve a problem for the reader; without that, it’s worthless,” says Ashley. Take the time to “get under the skin of your client, find their passion points.” Great relationships between brands and publishers develops ideas, which in turn promotes greater consumer satisfaction.

Takeaways from the discussion written by Hattie Birchinall, freelance journalist

Photography: Rachel Billings @rachelebillings