m&k: Dr. Sheila de Liz, your bestselling book *Women on Fire* has sparked a tsunami. Women feel heard and understood. When did you realize that this book was needed?

Sheila de Liz: It all started years ago when I realized that women were suffering greatly from the effects of menopause, which were caused by a lack of hormones.

 

But there have always been gynecologists—both male and female—who should be medically trained to do this.

Both the medical community and society at large have long overlooked the issue of hormone deficiency during menopause. To me, this was comparable to dentistry in the 19th century. I felt a growing need to shed light on the broad field of menopause in all its facets.

«The business and political worlds must recognize that when women leave the workforce during menopause, a great deal of quality is lost as well.»

 

What has your experience been like with the people around you since you wrote the book?

Every woman approaches me about it, opens up right away, and messages me privately. There’s an enormous need among women, and few places for them to turn. My colleagues have had mixed reactions to the topic: Many are grateful that someone has taken this «educational work» off their hands. And this is also true for the now empowered and informed patients who come on their own and tell us what symptoms they’re experiencing and what they want to do to relieve them. Of course, there are also colleagues who aren’t thrilled.

 

What arguments do these colleagues use when they approach you?

They would feel that their work was being interfered with because they have their own approach to dealing with women going through menopause.

 

Menopause has long been a taboo subject. Why has this topic been neglected for so long?

Out of misplaced shame and outdated notions about women and their worth once their childbearing years are over. Terms like «old iron» and «empty nest syndrome» are common prejudices in this context.

 

These are societal prejudices, but why has the medical community avoided the topic of women's health during menopause for so long?

The field wasn't very interesting, since with this kind of «assembly-line medicine,» very few doctors even have the time to address the issue.

«In principle, hormone deficiency in women affects all organs—from the hair follicles all the way down to the soles of the feet.»

 

What are the most common misconceptions about hormone therapy?

Many people still believe that hormone therapy causes cancer, leads to blood clots, high blood pressure, or strokes. Many also believe that hormones cause weight gain.

 

What arguments do you use to dispel these prejudices?

We simply replace the missing hormones and bring hormone levels to a level that is healthy for the body and its organs.

 

Why is taking hormones so controversial?

The problem is that the media have managed to convince women that they should be afraid of substances their bodies produce naturally. That was—and still is—a mistake. Modern hormone therapy uses only molecularly identical substances, so the body cannot tell whether the hormone comes from its own ovaries or from the pharmacy. Given the overwhelming benefits women experience when undergoing hormone replacement therapy, one must now ask whether it isn’t actually more dangerous to take nothing at all, since all organs suffer as a result in the medium and long term.

 

You run an online practice. Could you explain how it works?

Patients first schedule a detailed 50-minute introductory consultation via Zoom and then receive a personalized plan. If necessary, this may include prescriptions for HRT. A follow-up appointment is scheduled after 6–8 weeks, and additional appointments can be arranged as needed.

 

Almost every woman goes for a gynecological exam on a regular basis, doesn't she? Shouldn't that be a topic of discussion there?

The challenge often lies in time constraints. It takes patience and a lot of time to adjust HRT for patients. Every woman is different.

 

Based on your book, is public awareness of menopause now where you want it to be, or is there still room for improvement?

There is clearly much more room for improvement. Menopause affects all medical specialties. Therefore, gynecologists cannot shoulder this burden alone. In principle, all medical specialties should be familiar with menopause because it affects all organs. For example, orthopedists, dentists, ophthalmologists, neurologists, psychiatrists, and cardiologists should also be very familiar with the symptoms of menopause, because many patients of this typical age come to their offices. They present with specific symptoms linked to hormonal deficiency. And it doesn’t stop with these specialties: in principle, hormonal deficiency in women affects every organ, from the hair roots all the way down to the soles of the feet. There are so many menopausal symptoms. It’s believed there are around 136 different ones. These can include quite unusual things, such as difficulty swallowing and digestive problems. Skin rashes and pain in the soles of the feet. So it’s by no means just hot flashes and sleep disturbances. That’s why treating women going through menopause is a collaborative effort.

 

In your opinion, what does it take for this issue to make it onto the business agenda?

The business and political worlds must recognize that when women drop out of the workforce due to sleep deprivation, depression, lack of energy, and chronic muscle and bone pain, a great deal of highly qualified expertise is lost. As the saying goes, «Women hold up half the sky,» and that’s true: we women in midlife take care of the children, our jobs, the household, and our own parents. If these women aren’t at their best because of ailments that don’t have to be there, we have a problem. But if we support these women, everyone benefits.

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Sheila de Liz, M.D., born in New Jersey in 1969, moved to Germany at the age of 15 and studied medicine in Mainz. She has been working at her own gynecology practice in Wiesbaden since 2006. She is a sought-after expert on all topics related to women’s health.

This article first appeared in the m&k print edition 11-12/2024.

The first Gulf War—Operation Desert Storm—is still very vivid in my memory. I was 22 or 23 years old at the time, had my first job (alongside my studies) as a local news editor at a regional daily newspaper, and used one of my first paychecks to buy my first (and, to this day, only) TV so I could watch CNN. For the first time, it was possible to follow a war virtually live on the news channel. In the newsroom, I saw the images from the news agency: washed-out black-and-white prints from the photo printer. On CNN, tanks and shells were sharp and in full color. The American tanks left huge plumes of dust in their wake as they raced through the Iraqi desert. On TV, you could even see the grains of sand on the cloth the CNN reporter had wrapped around his head to protect himself from the dust. In the living room, the war was suddenly something you could hear, smell, and taste.

«Live» from the War Zone

War was raging, and we were watching it unfold live. What impact did that have on the horror of war? Did seeing the bombs on TV amplify the horror? Did seeing the blood of the wounded and dead—bright red—intensify the horror? The opposite was true: CNN’s coverage turned the war into mundane breakfast television. At times, the images looked like scenes from a video game—with the difference that even back then, video games provided more realistic graphics.

«In the living room, the war could suddenly be heard, smelled, and tasted.»

Since then, the images have become even sharper, they reach us even faster, and they show even more horrific scenes—but ultimately, it’s still war on breakfast TV. The only difference is that breakfast TV is no longer exclusively on CNN, but also on YouTube and Facebook, on TikTok and X—on all of our cell phones. In the schoolyard, our children share scenes from the wars in the Middle East and Ukraine on their smartphones like soccer trading cards before a World Cup. Instead of Pelé and Maradona, it’s all about bombs and explosions. Kawuumm!

«Were you afraid of death?»

Coverage in reputable media outlets sometimes resembles the helpless questions asked by reporters on the sidelines. What was it like in the trenches? Were you afraid of death? Have you ever killed anyone yourself? How did that make you feel? The soldier stammers out an answer. It’s about his mother and his sister. Like the reporter on the sidelines, the war correspondent barely listens. The main thing is that the camera captures the fighter’s face, where a tear is just now tracing a bright trail through the dark soot on his skin. Genuine emotions are worth their weight in gold in the attention economy. Just like those little Maradona pictures in the schoolyard back then.

«Genuine emotions are worth their weight in gold in the attention market. Just like those little Maradona pictures in the schoolyard back then.»

On cell phones, push notifications report bomb strikes just like goals in a live score update for a soccer game. Except these reports aren’t about a harmless leather ball, but about shrapnel, incendiary bombs, and rockets that cruelly tear holes in residential buildings, hospitals, theaters, and train stations. When the theater in Mariupol was hit by a Russian bomb, killing all the people who had sought shelter there, the push notifications looked no different from the reports about Heidi Klum’s Halloween costume and the record price of a troy ounce of gold. This is the horrific trivialization of bombs.

The Trivialization of Bombs

This «trivialization of the bombs» is linguistically similar to the «trivialization of evil,» a term coined by Hannah Arendt: During the trial of Adolf Eichmann, she observed that Eichmann was neither a fanatical ideologue nor a psychopathic perpetrator, but merely a dutiful bureaucrat who focused on carrying out orders and following regulations, without reflecting on the moral consequences of his actions. Hannah Arendt therefore described evil in this case as «banal» because it had no ideological cause and was not driven by any extraordinary malice, but rather by the blind obedience to orders.

Please don’t get me wrong: The current situation in the Middle East—the political situation in Israel, Palestine, or Lebanon—is by no means «trivial» in that sense. On the contrary, the problem in the region is that the conflicts are ideologically highly charged; with Iran and the Shia militias, with Israel and the Jewish settlers, and with the Sunni and Wahhabi Arab neighbors, we see opposing sides whose antagonism has deep ideological roots. The same applies to Russia’s attack on Ukraine, which must not be called a “war in Ukraine” because Russia does not accept that Ukraine exists. That is why Russia is destroying the country’s civilian infrastructure and displacing or killing its population. Russia denies Ukraine’s very existence. This is anything but trivial; on the contrary, it is highly ideologically charged.

Headlines overlap

The complex conflicts and immeasurable human suffering on our screens become trivialized because even the greatest catastrophe is skillfully co-opted by digital media to grab our attention. On a small screen, news about bombings is hardly distinguishable from the latest headline about Taylor Swift and Megan Fox, the latest referee controversy in the Bundesliga, or a secret tip for more orgasms. This leads to the worst possible consequence we can imagine: we become desensitized.

It’s like salt in soup: you get used to it. The process is called «desensitization»: People get used to recurring stimuli. The result: To produce the same effect, the intensity must be increased. Over time, more and more salt is needed to make the soup taste just right. A few years ago, a flash of cleavage was enough to guarantee the undivided attention of the «Bild» and «Blick» readership. Today, nudity hardly attracts any attention anymore. Nudity has become commonplace because bare skin is everywhere.

«If we want to stop bomb threats from becoming trivialized, we have to confront the people involved.»

If you really want to shock people, you have to cover yourself up. In Switzerland, for example, a ban on face coverings will take effect on January 1, 2025: Voters narrowly approved a corresponding popular initiative in 2021. Now the federal government has enacted the relevant laws. These laws apply not only to religious face veils but also to masked hooligans and protesters. As a gendarme in Saint-Tropez, Louis de Funès used to chase topless sunbathers, and in the real world, Brigitte Bardot caused utter consternation with her bare breasts. Today, there’s more bare skin on breakfast TV than there used to be in some teen magazines back then. Accordingly, it’s not nudity that’s restricted on France’s beaches, but veiling: many public beaches have a burkini ban. The headlines about burkinis and veiled people are a result of the trivialization of bare breasts: When nudity no longer shocks, the opposite does.

Who will take responsibility?

The consequence of bomb-related headlines on morning TV and on cell phone screens is thus a progressive trivialization of bombs. Part of this trivialization is a desensitization to the content of the headlines. In her analysis of the banality of evil as exemplified by Adolf Eichmann, Hannah Arendt concluded that Eichmann was not evil, but acted out of sheer thoughtlessness, conformity, and bureaucratic obedience. He became an architect of evil because he was incapable of independently reflecting on the morality of his actions. Hannah Arendt concludes that evil often does not stem from malicious intent, but is made possible by people who do not reflect on the consequences of their actions because they cede their moral responsibility to authorities. Who could take responsibility to ensure that the bombs do not fall prey to banality? First and foremost, of course, the news media. They must, in their own interest, finally bid farewell to the great battle for attention. Anyone who wants to attract attention on the internet must stand out dramatically. They must startle users with ever more urgent headlines and push notifications. It doesn’t take long before the urgency with which the headline is phrased can no longer keep pace with the content. Those who make a lot of noise about nothing more and more often will not win over users—they will lose them. The paradoxical consequence of attention-seeking journalism is therefore a loss of attention.

And what about the users? How can they avoid the trivialization of bombs? Simply turning off the TV and cell phone and closing one’s eyes to the bombs cannot be the solution either. The bureaucratization Hannah Arendt speaks of hides people and their suffering behind dry numbers and data. If we want to break the banality of bomb reports, we must therefore look beyond the numbers and headlines and confront the people themselves—Palestinians and Israelis, Ukrainians and Russians. No, it’s not easy, and it’s certainly not trivial. But that’s exactly the point.

These days, one could find many reasons to fall into pessimism. The U.S. elections, the likely implications for the environment, Ukraine, and the UN—the desperate situation in the Middle East—the anticipated market uncertainty brought on by isolationist policies… and so on and so forth.

As I type these lines on a Sunday afternoon in November, Zurich’s sky is a fitting autumn gray. Bonjour, Tristesse?! Have we—once again—reached a moment of collective despondency, like back at the start of the COVID-19 pandemic? Or like when Donald Trump won his first election?

Hello, Sadness?

I don't really want to get political here, and those who welcome the current developments are free to do so. But I understand everyone who feels exactly the opposite. And I'd like to say to them in particular: We owe it to our colleagues, our customers, and ourselves to remain optimistic.

I don’t see optimism as a «gift,» as some kind of character trait you’re either born with or not. I see it as a skill, a quality that can be trained and cultivated—through conversations with friends, through spending time with family, and through the oft-cited but true adage, «This, too, shall pass.» Optimism as a discipline must become a «mindset.».

The way I think is the way I work

If we, as professional communicators, fail to achieve this, it will be reflected in our work. Advertising is a bet on the future; branding is a (often quite bold) reach toward «tomorrow»; marketing is the belief that life goes on, that people want to live (together)—and even enjoy life. Communication itself—through every conceivable channel—keeps companies on course like ships, even in storms of varying intensity. When the waves are already crashing against the bow on both sides, should you really be jerking the rudder back and forth just because you assume you’re going to run aground anyway?

I am firmly convinced that we cannot control the sea. But we are still the ones at the helm. And how optimistically we steer the ship determines where our journey ends.

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The author is the CEO of Publicis Groupe Switzerland.

This column first appeared in the 11-12/2024 print edition of m&k.

When Karin Ohmann wants to know how her clients« careers are shaping up, she consults BaZi Suanming. BaZi—what? Ohmann, who has lived in Asia for many years, laughs. The career counselor is all too familiar with the local reservations about this ancient Chinese method, which uses a birth chart to determine one’s potential. Over the course of her long career, however, the horoscope has never led her astray, as the Swiss-born consultant—who now lives in Barcelona—asserts: »Every person is born with their own fundamental destiny and talents. Only when they pursue them will they be happy.” And what better time to embark on a quest for happiness than at the end of the year? In addition to the usual resolutions (such as exercising more and drinking less alcohol…), one must not forget the resolution to become satisfied—or even more satisfied—with one’s career. After all, a significant portion of one’s life is spent at work, so it’s advisable not to leave one’s career to chance.

Everyday life hinders research into the causes

But in the hustle and bustle of everyday life, that’s exactly what sometimes happens. Ohmann describes how some people find themselves stuck in a rut, unable to move forward, yet don’t take the time to figure out why. The career coach shakes her head. «If you get lost while driving, you look at a map to figure out where you are.» In the same way, she says, taking stock of your career isn’t a luxury—it’s a must.

For example, someone who works in accounting and deals with dry columns of numbers day in and day out—even though he or she is the affable type—shouldn’t be surprised if the job eventually feels frustrating. Or get annoyed when they might even be overlooked during promotion rounds. The job just isn’t the right fit—it’s that simple. It’s not just the Chinese birth horoscope that opens your eyes to this realization. Small index cards on which you can write down your deepest values and desires help you gain clarity: What’s important to me? Where do I want to go? What am I good at? What do I enjoy? What personal value can I bring to the table?

Summarizing Skills

«From the answers, which consist of individual words, you can identify sentences that reveal themes which succinctly capture your own skills and goals,» says Ohmann. This is an important prerequisite for being able to articulate one’s own needs in the first place—whether to a boss or on career platforms like LinkedIn. «Based on specific details about your personality and areas of expertise, you can attract attention and spark conversations that advance your career,» explains the career counselor.

But it’s not just about the professional fit—the chemistry has to be right, too. And as Ohmann knows, this stems from shared values between employees and employers. Anyone who likes to receive regular feedback from supervisors but only gets it when something goes wrong will likely be disappointed. Of course, you can express the need for a more feedback-oriented culture, but if your request isn’t heard and nothing changes, you should consider leaving. «In most cases, personal differences are the reason people decide to quit,» Ohmann observes.

«Only those who pursue their talents and calling are happy.»

Differences in values with employers are often not apparent at first glance. Nevertheless, Ohmann advises paying attention to this as early as the job interview. «Job interviews are like a date,» she says. «Everyone is trying to figure out who the other person is and whether they’ll find what they’re looking for in the other person.» This includes, for example, opportunities for growth. «Many applicants go into great detail about their own qualities but forget to ask: »What can you offer me?’”

Discovering Self-Worth

Christina Strasser also helps people discover their self-worth through self-assessment, so they can better understand and communicate their own goals. The systemic coach from Vienna typically provides counseling in one-on-one sessions, but also offers the opportunity to participate in live events such as «Live Your Dream.» In her podcast, she also encourages listeners to find the «courage to change.».

Despite all her bold dreams of change, when it comes to choosing an employer, Strasser, too, clearly prioritizes values: «In addition to the field of work and factors like salary and working hours, the overall environment has to be a good fit,» she says. Her advice is for job seekers to check out career portals like Kununu, where employees share their experiences: «That gives you an initial glimpse into what a company is really like.» Furthermore, a trial day can also give you a taste of the atmosphere at the company: How are hierarchies handled? Is it a formal or informal culture? Do employees treat each other with respect? If none of this aligns with your own expectations, Strasser advises that you should pass on the job.

«Job interviews are like a date. Do you find what you're looking for in the other person?»

As a way to get to the bottom of one’s own strengths and values, Strasser advises observing oneself in everyday life. «In an energy journal, you can write down: What went really well today? What gave you that tingle?» she explains. Maybe your personal highlights don’t match the job postings or your current role at all—so what then? Strasser doesn’t think you have to throw in the towel just yet. At least not yet. «Employees can try to integrate their strengths even more into their job,» she recommends. Who knows—with a little luck and some willingness on the employer’s part, this could lead to a new area of responsibility that makes everyone happy. However, such a win-win situation can only succeed if the employer also shows the courage to embrace change.

Plan B: A Whole New Adventure

Otherwise, Plan B is to embark on a new adventure: a complete career change. This could involve retraining or even becoming self-employed. «A common option is to reduce your hours in your full-time job and slowly build up your self-employment through a side gig,» explains Strasser. Ultimately, this is also the option her clients most often choose when they feel the time has come for a new, fulfilling chapter in their careers. «I often see people in their 40s who want to fully embrace their strengths,» says Strasser. After a few sessions with the Vienna-based counselor, very few remain loyal to their previous employer. «It often turns out that inner blocks are the reason they stayed so long in the first place,» explains the counselor. «Anyone who is convinced deep down that they aren’t good enough or that they have to work hard to earn a living can transform these negative beliefs into positive affirmations.» According to Strasser, it takes up to two months for these repetitions to become second nature as a new truth. After that, her clients are free—and well-equipped for the next step in their careers.

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INTERVIEW

«Putting Together Your Personal Treasure Chest»

Dagmar Werther is a certified leadership coach from Munich. In this interview, she explains what matters most when (re)orienting one’s career.

m&k: Dagmar Werther, how can people strategically advance their own careers? And what steps should employees take to achieve this?

Dagmar Werther: First and foremost, it’s a question of personal motivation: Do I want to grow? And if so, where do I want to go? If the answers to these questions are clear, you’ve already laid an important foundation. The next step is to generate the momentum needed to take the next step in your career.

 

How does that work?

I recommend that my clients create a “biography timeline.” This means writing down on index cards when they’ve successfully changed and what triggered those turning points. Perhaps new inspiration came from others. Or maybe they gave themselves a pep talk. With this highly personalized collection, everyone puts together their own personal treasure chest, which they can draw on whenever they’re planning their next step toward change. This method also helps people take action. Especially when we’re dissatisfied with a situation, a whirlwind of thoughts takes place in our minds that doesn’t get us anywhere on our own. Many people make the mistake of clinging too much to the current situation and thinking, “I want to get out of this situation.” It’s better to focus on where you want to go.

 

How can you communicate your career goals to your employer?

During performance reviews, which typically take place annually, employees should consider where they see themselves in two to three years and ask their employers about this as well. If the employer has an answer ready or is open to changes, you’ll know that you’re being taken into account in the development plan. If not, you’ve at least signaled that you want to continue developing. Then it’s important to stay on top of things and set a realistic deadline for yourself.

Going shopping on an empty stomach isn’t a good idea. And this has even been scientifically proven: In an article published on the scientific platform PNAS, researchers reported that people who are hungry spend more money than those with a full stomach. Shopping without a prepared shopping list can also be expensive: According to a study by the University of Pittsburgh, people without a shopping list make more impulse purchases—and spend more at the register than those who have written down what they need.

«You have to find a way to stop shoppers in their tracks and pique their interest (…).»

This is good news for brands that want to reach customers at the point of sale (POS), as they can be particularly effective with hungry impulse shoppers. But marketing activities at the POS appeal to all shoppers, whether they’re hungry or not—and they do so successfully. André Henneboh, Managing Director of Frankfurt-based Serviceplan Activation, is convinced «that today, more than ever, the POS is the ‚point of truth,‘ since this is where the actual purchase takes place—a fact of enormous significance in times of price pressure, inflation, and economic uncertainty.» (see also the interview below).

Special prices are popular

The fact that price plays a key role at the point of sale is also confirmed by the 2023 POS Marketing Report from Medialog, POS Pulse, and UGW. According to the report, promotional prices have the greatest influence on purchasing behavior—even more so than loyalty card bonuses, special-size packages, product samples, bundles, flyer offers, multi-buy promotions, and coupons. «Direct monetary benefits trigger the most impulse purchases,» explains Gernot Lingelbach, managing director of the marketing agency UGW, who initiated the report. The expert notes that promotions at the point of sale must overcome three hurdles before the purchase decision is made in order to be effective: «They must manage to stop shoppers in their tracks, pique their interest, and then help them overcome the barrier to purchase.» If this succeeds, a product is highly likely to end up in the shopping cart. The survey shows that shelf stoppers, in particular, influence shopping behavior. For 44 percent of respondents, they are the advertising tools with the greatest influence on purchasing, followed by posters and billboards in the entrance area (36 percent) and offers displayed on screens (34 percent).

The POS Is Going Digital

And it is precisely this last figure that is likely to have increased in the report’s new survey, which will be published in early 2025, as the importance of digital POS measures continues to grow. All customers carry the bridge to the digital world—such as a QR code—right in their pockets in the form of their smartphones, giving them access to sweepstakes, games, or other digital offerings. This creates added value, fun, and loyalty among customers, while providing companies with a wealth of relevant data. «Data-driven approaches and retail media enable brands to address target audiences directly at the POS with relevant content based on real-time data. By linking in-store experiences with digital tools such as apps or gamification, targeted activations are created that serve the needs of both consumers and retailers. This ‚thinking from the POS into the digital extension‘ offers brands effective alternatives to price wars.» A campaign by Serviceplan Activation for Bitburger demonstrates how this can work in practice: A concept for the UEFA European Championship used tournament tickets as an emotional draw, featuring clear messages and geolocated prize distribution. Flexible setups and a digital extension within the Bitburger app created a strong, targeted presence at the POS and ensured lasting customer loyalty.

Retail Media as a New Building Block

One relatively new segment of POS marketing, in particular, is booming: retail media—that is, advertising that runs directly on retailers« inventory, at the point of sale, in marketplaces, and in online stores or apps. According to IAB forecasts, the European retail media market could reach a volume of 25 billion euros by 2026. »Retail media is evolving into a distinct media genre—the course is being set now,« states the latest EHI study, »Retail Media in the German Retail Sector.« »Retail media is becoming more important,« confirms Gernot Lingelbach. This is because it serves as another touchpoint for brand messages. »And the more touchpoints there are, the greater the chance that the message will get through.« Retail media enables targeted, relevant, and measurable advertising right where customers are on the verge of making a purchase decision. »Private-label brands can use it to address specific target groups directly at the POS. For brands, this creates a direct link between awareness and consideration: Customers often make their purchasing decisions based on targeted incentives in apps that can be displayed directly at the POS. Retail Media uses retail as an interface to precisely target consumers in their shopping environment. This increases efficiency and improves the ROI of POS campaigns,” explains André Henneboh.

«Retail media is evolving into a distinct media genre—the course is being set right now.»

Artificial Intelligence at the POS

Artificial intelligence is also making its way to the point of sale (POS): For example, the Teekanne brand uses the AI-based platform Brainsuite to optimize its POS materials and aims to target consumers more effectively. With the help of AI, the company tests various design options and analyzes factors such as attention-grabbing appeal, simplicity, and emotional impact. UGW also uses AI and even won an award for it at the Best Retail Cases Awards 2024: In a promotion for the probiotic drink Actimel, uploaded receipts were automatically checked by AI against various eligibility criteria, and the purchase price was refunded upon successful validation. 50,000 customers participated, and the use of AI made the process significantly more efficient.

In addition, technologies like augmented reality are turning the point of sale into a digital experience: For example, this past spring, Publicis Groupe Germany used AR and VPS technology to transform a supermarket in Düsseldorf into a real-life Pac-Man maze for the Oreo cookie brand. Customers could scan a QR code to play a game on their phones, collect giant virtual cookies, compete against ghosts, and enter a contest. The supermarket became an immersive Oreo world.

360-Degree Campaigns

It’s important that the POS promotion aligns with the brand and its other communication efforts—as a component of a well-planned 360-degree campaign, rather than simply aiming to «engage shoppers louder, faster, and cheaper,» according to UGW Managing Director Lingelbach. «Many promotions are too focused on hard selling. But it shouldn’t just be about some random contest; rather, a POS promotion should truly stem from the core of the brand.» For many today, «brand activation» means “above all, activation—and too little brand.”

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Interview

«At the POS, success goes to those who understand retailers and customers»

André Henneboh is the managing director of Serviceplan Activation.

m&k: What does a well-executed POS campaign need to have these days to be successful?

André Henneboh: Several factors come into play here—awareness plays a central role: The campaign must not only stand out, but also be relevant and emotionally engaging. The added value should be immediately apparent. Simplicity is also essential. The message at the point of sale must be understandable in just a few seconds; more complex mechanics can then be incorporated into the digital extension. Interaction with customers is equally important. Elements such as gamification or contests actively engage them, which fosters lasting loyalty and ongoing dialogue. Feasibility also plays a role. Campaigns must be practical and implementable to succeed in retail. Close coordination between marketing and sales is essential here to make optimal use of all touchpoints.

 

How important is POS marketing in the marketing mix—and which companies should take action in this area?

The point of sale is where purchasing decisions are made. The winner is whoever understands retailers and customers. Brands that fail to draw attention to themselves through promotions and campaigns will go largely unnoticed by customers and ultimately won’t be purchased. This is especially important for brands that don’t have a large base of loyal customers, as well as for those operating in a highly competitive environment.

 

What role do digital POS measures play?

Digital campaigns bridge the gap between brick-and-mortar and digital worlds, offer a seamless customer journey, and enable continuous interaction and data collection. However, traditional POS promotional materials and well-thought-out placement strategies remain an integral part of the mix and play a crucial role in brand visibility and sales promotion.

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This article first appeared in the m&k print edition 11-12/2024.

Wirz is saying goodbye to the hourly model, yes - but this is only the smallest step in a comprehensive transformation. In fact, we have restructured our entire business model from the ground up. With a clear goal: to use creativity more efficiently for the growth and added value of our customers. This is how we want to be measured. Not by hours worked or awards won, but solely by the success of our customers.

"Creativity can solve customers' most pressing challenges."

Why all this? The challenges are well known: falling margins, shrinking EBIT, more tasks with the same budget - the eternal lament of the agency world. But what has been done? Cost-cutting rounds, "focus on creativity" without specifying what it can achieve (creativity can solve everything...) - but no fundamental system change. A desperate clinging to a model from the 80s. Our motivation is as simple as it is strong: to prove that creativity can do more than advertising. The consulting services of creative agencies, which traditionally work closely with their clients and have not only claimed creativity, but implemented it, are far too powerful not to make them more usable for our clients.

Creativity creates added value

The latest studies clearly confirm that creativity creates added value. As the essential capital of an organization, it leads to higher company value, improves value creation, creates growth and secures future viability. According to a study by Ocean Tomo, intangible assets, above all strong brands and creative content, now account for as much as 90 percent of total company value. A look at Apple shows how much the brand shapes the company's value, with the value already exceeding one trillion dollars in 2024. Who would still consider creativity to be a soft factor? Rather, it shapes companies and creates value, quite directly. There is also a study by NC Solutions from 2023 that shows that 49% of sales growth through communication can be directly attributed to the quality of creative content. And that creatively designed communication achieves a four times higher return on investment compared to average campaigns.

"Creativity is not an 'old virtue', but a decisive success factor that helps companies move forward in the long term."

These findings are not new, but they confirm what we at Wirz are already doing: Creativity can not only be used as a central element of successful communication, but also brings direct economic benefits as a core competence for marketing as a whole. Companies that rely on creativity grow significantly faster. This can also be proven: a comprehensive report by the research and consulting company Forrester (2023) attests that companies with a targeted use of creativity achieve 2.6 times higher company growth, regardless of industry or product focus - clear proof of creativity as a growth driver.

A return to the roots

The importance of creativity and branding, which has long been overshadowed by technological trends, is experiencing a renaissance. The "State of Marketing 2024" report by McKinsey and Absatzwirtschaft shows that 96% of companies consider creativity and 84% branding to be decisive for success. These figures emphasize a new understanding of creative content and strong brand identity at a time when many other trends are dominating. Generative AI (GenAI), on the other hand, does not rank in the top 3. The high importance of authenticity underlines that human creativity remains an indispensable counterpart to AI.

Creativity as an Economic Factor

The return to creativity and branding is a strategic decision with high economic relevance. CEOs and marketing managers see creative excellence and authentic brand identity as a top issue for corporate growth, especially when it comes to driving the success of their companies through "rethought" marketing. A conviction that we at Wirz fully share. And which we live up to: By ensuring that creativity never remains an end in itself for us, but is used specifically as a strategic driver for growth and market success.

Creativity with a system

Creativity can solve our customers' most pressing challenges. So far, so logical. But how? It is not enough to rename existing services and turn them into products. What is needed is a clear direction that not only establishes creativity as a central element, but also uses it efficiently and in a targeted manner. To this end, we have developed a modular system in which customers can choose from various coordinated modules - from strategic needs analysis to innovative product development. Our modules can be flexibly combined to create customized programs that are precisely tailored to our clients' business challenges. Instead of the traditional hourly fee, we offer a results-oriented pricing model. Clients pay for results achieved rather than time spent - guaranteeing maximum transparency and measurable success. Such a system means a fundamental change in the agency architecture. True productization with the classic agency system is suicide.

"It's time for a mindshift in marketing."

This approach positions us as a partner that not only provides creative solutions for advertising and communication, but also solves key economic challenges for our clients.

Creativity as a strategic success factor

Our experience and current science show that a return to creativity and branding as central elements in marketing is overdue.

Creativity is not an "old virtue", but a decisive success factor that drives companies forward in the long term. Our realignment underlines the fact that creativity is more than just a means of communication. It is a universal tool that supports companies in responding to complex challenges and asserting themselves in a highly competitive market environment. Creativity creates solutions that enable sustainable success in both marketing and business strategy. It is time for a mindshift in marketing - for an industry that has the courage to recognize and use creativity as the key to sustainable success.

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Petra Dreyfus and Livio Dainese are the co-CEOs of the Wirz agency in Zurich. Both hold the highly prestigious title of "Advertiser:in of the Year" in the industry - Dainese won it in 2018, his colleague Dreyfus directly in the following year 2019.

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This article first appeared in the m&k print edition 11-12/2024.

For our study, «Welcome to the C-Suite, Creativity!,» we examined corporate structures, cultures, and team dynamics to answer the questions posed in the introduction. We gained the following key insights:

Leadership: Creative Leaders as Drivers of Growth

A creative leader inspires those around them, thereby creating an open atmosphere in which new ideas flourish. The study highlights that creative leaders help employees feel a sense of belonging much more quickly and make them willing to take risks without fear—an important aspect, since innovation projects are often associated with uncertainty. Creativity in leadership can be measured by examining its impact on key business metrics such as employee retention, satisfaction, and innovation rates. Companies led by creative leaders show higher levels of employee satisfaction and retention. In addition, employees at creative companies report an NPS (Net Promoter Score) that is up to 44 percent higher than those at less creative organizations.

Corporate Structure: Flexibility and Agility as Catalysts

Creativity requires structural flexibility. Our study shows that companies with flat hierarchies and agile work processes foster creative thinking. Rigid, hierarchical structures, on the other hand, hinder free thinking, as new ideas must go through a multi-layered development process. Companies that, for example, promote project-based, interdisciplinary teams and establish processes for rapid decision-making provide space for creative potential to flourish. The effectiveness of such structures can be measured using KPIs such as the number of ideas submitted and implemented, the time-to-market for new products, or the return on innovation.

«An open and creative corporate culture is the foundation for innovation.»

Corporate Culture: Every Idea Counts

An open and creative corporate culture is the foundation for innovation. According to the study, companies that view mistakes as learning opportunities rather than failures foster the creative potential of their teams. Creativity thrives in a culture of trust, inclusion, and exchange. A creative culture can be measured, for example, through employee surveys that gauge the perceived appreciation for new ideas or satisfaction with the innovation climate. The number and diversity of ideas generated and pursued within the company are also indicators of a vibrant innovation culture.

Team: Diversity and Collaboration as Sources of Creativity

Teams that are interdisciplinary and composed of people from diverse social, geographic, and cultural backgrounds bring multidimensional problem-solving skills and perspectives to the table. According to the study, diverse teams tend to be more creative, as different perspectives often lead to new, innovative approaches. Creativity in a team context can be measured by evaluating team workshops, brainstorming sessions, and ideation processes. A high number and range of ideas or innovative projects can indicate a creative team with potential shaped by diversity. The commitment of team members and their willingness to participate in creative processes can also serve as indicators.

Performance: Creativity as a Measurable Factor for Success

The study «Welcome to the C-Suite, Creativity» also makes it clear that creativity is not just a bonus, but a measurable factor in a company’s success. Through a targeted analysis of the dimensions of leadership, structure, culture, and team, clear metrics can be developed that make a company’s creative potential tangible. Companies that actively promote and measure creativity lay the foundation for sustainable growth and innovation—because «the business of business is not just business anymore.»

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Want to get involved?

For anyone who would now like to learn more about their own organization’s creative potential, the study’s organizers have developed a measurement tool to provide initial insights. The «KPI—Creative Performance Indicator» helps organizations assess their current position and determine their status. If you’re interested, more information is available at [email protected].

m&k: Sir John Hegarty, you’ve been talking more and more lately about the connection between creativity and sustainability. Why has this become such an important issue for you?

Sir John Hegarty: Essentially, we’re seeing a failure of commercial communication—one billion people, probably even more, use ad blockers to avoid advertising. And how are marketers and agencies responding? With… even more mediocre communication! Our planet cannot sustain this approach in the long run. If you’re completely ineffective yet still produce more and more ineffective work… the CO2 footprint of advertising simply becomes too large. Marketing is becoming like fast fashion: we get something new, throw it away, and get something new again. The only way to solve this problem is through outstanding creativity. Ultimately, the goal is to build a connection with the audience and generate word-of-mouth buzz. 10,000 generic posters won’t achieve that—they’ll only succeed in destroying part of the rainforest. But a really good idea, a brilliant TV commercial, a genius tagline… that’s what gets through.

«Marketing is becoming like fast fashion: We get something new, throw it away, and get something new again.»

 

Does the industry accept your views on sustainability?

Let’s put it this way: People understand me, but there’s no enthusiasm for what I’m saying (laughs). Marketers tend to see my arguments as yet another problem—and they already have plenty of those!—rather than as an opportunity. But the turning point will come… as it always does with these kinds of issues. At the latest, when the first mega-brand is called upon by the media to explain why it isn’t including its communication measures in its sustainability report. That’s when momentum builds, and that’s when change begins.

 

Perhaps the process could be sped up if you wrote down your ideas? I've heard that—after two bestsellers—you're planning a third book anyway …

At least, I’m toying with the idea. There are currently three projects I’d like to pursue—in addition to everything else I do. Two of them are books; the third is more in the realm of entertainment. I haven’t decided yet where to focus my energy. That said, writing really is a wonderful thing—I have to say. Just you, a pen, a sheet of paper… a draft, a journey of the mind, and maybe, in the end, the realization that you’ve written nothing but nonsense (laughs). Since you mentioned my previous books, I’ll let you in on a secret—if I write another one, it’ll be much more personal; less of a self-help guide than the others. I’d talk about how I got into the creative industry, how much fun it all was, and all the crazy coincidences and happenings that have occurred over the decades. Maybe I’d even find a spot for some of my cartoons.

«Creativity is not a job, but a calling.»

 

Where do you actually get the energy for all your various commitments? You travel a lot, give keynote speeches, lead the «The Business of Creativity» masterclass series …

There’s a very apt saying about creativity: it’s not a job, but a calling. Or maybe even… a form of obsession? (laughs) A creative mind is, so to speak, programmed to constantly ask questions, come up with ideas, and be curious. That’s the DNA of creativity, and you can’t just turn it off. When you’ve spent your life in the creative industry, as I’ve been fortunate enough to do, you never want to do anything else. And if you’re ever forced to change direction, you simply channel your creative impulses elsewhere—reading books, going to the theater, making music. But the impulses themselves are indestructible.

May I return once more to your—potential—book project? You also plan to share personal anecdotes in it. Will it be a memoir? Are you thinking about your legacy?

Not at all, Johannes. I live by the motto, «Do interesting things, and interesting things will happen to you‘—that’s… one of my principles. I recently read a very good book about the art of storytelling. It explains that we don’t just tell stories because it’s a great way to communicate or because it shapes culture, but also because it’s a way to enrich our lives. When you tell a story, you can go back a hundred or two hundred years; you can look into the future by pondering possibilities. However, I believe first and foremost that it enriches your own life; that storytelling positively influences the present in the process. And it’s not about erecting a historical monument to yourself through an autobiography, for example. A legacy is your family; it’s the loving concern for how your children or friends are doing, what you can pass on to them—and what they do with it. Besides, to be completely honest: I’ve never met anyone who said, »This and that should be my legacy«… and then it turned out exactly that way. Who am I to dictate to posterity what they should think of me? (laughs)

«Who am I to dictate to posterity what it should think of me?»

 

«Do interesting things, and interesting things will happen to you‘—for you, one of those things is winemaking. You have vineyards in France. Do you see any parallels between farming and advertising?

Ha! Good question! Actually, I originally invested in my winery because I wanted to do something completely different from advertising and marketing—at least for a while. God doesn’t answer—or send—emails, and growth rates in the vineyard aren’t tracked with graphs… that’s what I was in the mood for. Over time, though, I came to realize that there are major similarities between what we do in advertising and what we do at the winery: You have to nurture things so they can thrive; you have to respect the process. And, to return to the beginning of our conversation—you develop a keen sense of just how important sustainability is; in every aspect of our lives.

 

Since we’ve already touched on the topic of existence, let’s wrap up with an «existential» question: What does it take to be successful in marketing and commercial communication in the future?

That’s always the existential question (laughs), and there’s never a perfect, definitive answer. At most, I’d have one suggestion: CMOs should radically rethink the definition of their role. Take a look at what people want, Mr. Hapig: They want to see Taylor Swift, watch *Gladiator 2*, go to the theater, or read a book. They want to engage with whatever captures their imagination, moves them, and entertains them. That’s why, in my opinion, marketers should rebrand themselves as entertainment directors. You don’t capture attention through marketing, but through entertainment—creatively excellent entertainment. Entertainment that inspires rather than dumbing people down. Behind me—can you see it on the screen?—is a picture of one of the first motor vehicles, broken down into its individual parts. Mechanics have long since managed to see themselves as software experts, because vehicle propulsion technology has changed. When will CMOs manage to understand what drives their potential customers and make that the guiding principle of their actions?

«Marketers need to become entertainment directors.»

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Sir John Hegarty, founder of the iconic British advertising agency Bartle Bogle Hegarty, is one of the world’s most successful and creative advertising icons. For more than six decades, he has worked with brands such as Levi’s, British Airways, and Johnnie Walker, shaping the advertising landscape. In 2022, Hegarty launched an eight-week online course called «The Business of Creativity.» The goal: to unleash the immense power of creativity.

 

This article first appeared in the m&k print edition 11-12/2024.

Let’s start with an example from the world of strategy. The head of marketing at a DAX-listed company briefed his agency on a “purpose.” After a year of meetings and workshops, they finally narrowed it down to three possible directions for their purpose, which they then tested against one another in a comprehensive qualitative market research study. The winner was then selected.

Do you realize how absurd that is? Throughout human history, one’s convictions—one’s purpose—have always been something you hold firmly without asking others for their opinion. It’s what you’re willing to make sacrifices for. It’s why you didn’t join the party 90 years ago, or why Luther was excommunicated from the church. The marketing buzzword ‚purpose‘ is strangely disconnected from the realities of the world out there.

The situation is similar when it comes to creativity. The criteria of the major festivals are comprehensible only to industry creatives, ambitious entrants, and award managers—a world of its own with its own rules and its own heroes. It rarely has anything to do with the day-to-day reality of working with clients. And it has even less to do with the lives of those whom their work is supposedly meant to reach.

More Data, More Mediocrity

And all our technological capabilities don’t automatically make things better either. It’s true that today we have more information than ever before about the people we want to reach. But all those data sets, all those «Mafos» and dashboards have certainly made our work cheaper—but not necessarily better. One of the downsides of (misinterpreted) data is that it gives mediocrity even more justification.

The marketing world lives in a strange, insular bubble, governed by its own logic, mechanisms, and tools. We work in a focused, efficient, data-driven, and well-thought-out manner—but in a hermetic way. To top it off, we’ve adopted a specialized vocabulary of pretentious euphemisms to successfully conceal our shortcomings: We develop «personas,» «meet people where they are,» are «authentic,» build «lovebrands,» work on «emotionalization,» give ourselves «purposes,» and so on.

And we’ve also developed our own set of success factors, which we can achieve reasonably well within our own ecosystem using our tools and rules. A “like” is probably the smallest possible emotional expression of goodwill ever measured in humans. And in our world, reach has become a measure of quality—a value in and of itself.

The effect of this disconnect from the world: Commercial communication is often formulaic, rarely surprising or moving. Even when it has specific goals, it comes across as aimless. Pointless. Ninety percent of it is irrelevant.

It is the irony of advertising that, in its attempt to create differentiation and distinctiveness—which is, after all, its true purpose—it always produces the same thing.

Even the various ways of “thinking outside the box” seem formulaic. All the “culture” units at major agencies, all the young, fresh digital agencies, and the oddballs that the industry still occasionally indulges—they’re all just playing a few different keys on the same keyboard.

Excessive Naivety

Incidentally, this disconnect from reality within an industry isn’t limited to advertising and marketing; it’s also evident in other fields such as entertainment television, journalism, politics, and many more. Everywhere you look, communication experts are communicating with an incredible amount of expertise—but they’re talking right past people, and because they operate in their own little world, they don’t even realize it.

To break out of the same old routine, we need to try to tell authentic stories. We also need to make more room for intuition and a simple «love of good stuff.» And we need more inspiration.

The Two-Part Lives

It's strange, really: Meetings with creatives and strategists are usually witty, entertaining, down-to-earth, honest, and good—in contrast to the results that end up coming out of them.

Somewhere along the decision-making process, the human element gets lost. And yes, advertisers and marketers are people, too! They celebrate new albums by their favorite stars, are fanboys and fangirls of columnists, binge-watch TV shows and listen to podcasts on the weekends, and love art, fashion, or architecture. Access to culture is there. And I believe the understanding that all of this is somehow connected to our work is there, too. We just have to take the step of allowing one to flow into the other.

«The irony of advertising is that, in its attempt to create differentiation and distinctiveness, it always produces sameness.»

Developing an understanding of the world and its people, reflecting on them, and transforming that understanding into communication is a hallmark of all cultural creation. Literature tells us empathetic stories about people; art and music seek forms of expression for the inexpressible; architecture shapes our cities; design shapes our surroundings; fashion shapes us—and pop culture, time and again, shapes the whole world! And in each of these disciplines, there are works that move us. And that’s what it’s all about for us, too: moving people.

Don’t get me wrong: This isn’t an argument against all the good methods we have. Market research is important, data is worth its weight in gold, and so are the theoretical foundations we develop. But we should keep in mind that simply applying these methods isn’t enough to get the job done. We have to translate all of this into human terms.

It's been viewed millions of times, but never like this.

An example from literature: In the novel *The Charterhouse of Parma* by the French writer Stendhal, readers can find one of the most famous—and unique—descriptions of a battle in literary history. A young provincial nobleman, along with a few companions, wants to support his idol, Napoleon, at the Battle of Waterloo. However, his mission is not crowned with success. The group rides aimlessly for hours through the forests surrounding Waterloo; the men encounter other stragglers, hear the thunder of cannon fire, and are on edge, but they cannot find the main battlefield. All in all, a confusing, disappointing, and—at least for readers—highly entertaining episode.

Stendhal’s description of the battle was written with expert knowledge. Although Stendhal was not at Waterloo, he had served in Napoleon’s army for a long time. For him, however, this expert knowledge—that is, the facts—serves only as a foundation. What moves us stems from fundamentally human motifs: the unfulfilled desire for heroism, good intentions that clash with reality, and the individual’s sense of disorientation when faced with something greater than themselves.

The example may be unusual, but it’s illustrative. For it shows the difference between interchangeability and uniqueness. The Battle of Waterloo has been described millions of times—in academic, literary, and cinematic works. But the version that adds its own imagination to the facts and data is the only one you’ll never forget: the story of the guy who can’t find the battlefield.

«So not just Simon Sinek, but also Sarah Silverman. Or Franz Kafka, Johnny Cash, and Pharrell Williams.»

Once again, please don’t get me wrong: No one should incorporate the Battle of Waterloo (or any other battle) into their branding efforts. But this failed yearning for heroism, the good intentions that clash with reality, or the individual’s sense of disorientation when faced with something bigger—such dramas can also unfold on a small scale, in front of a supermarket shelf or in the back seat of a family minivan. And these are just three examples of the vast array of ways in which art and culture touch people’s lives.

What we love about the weekend …

In our line of work, we largely ignore these possibilities. And when it comes to discussing and making a case for them, we lack the right data and the appropriate vocabulary. Anyone who advocates «for something like that» quickly comes across as naive among all the «advertising pros.» What we love as private individuals on the weekend has no advocates and no arguments from Monday through Friday.

Yet that would actually be the strongest argument: We love it, so others will love it too. It moves us, so it will move more people as well. We think it’s beautiful, so others will find it beautiful too. It makes us laugh—so why shouldn’t it make others laugh too?

If we raise awareness of the disconnect between our discussions and the real world, and foster a little more confidence in ourselves as cultural beings—and not just as experts—I believe we can do better work. We need to be experts in good stuff. So let’s open ourselves up not only to the relevant marketing principles and the «lessons learned» within our industry, but also to the insights and approaches of great, creative people from outside it. Not just Simon Sinek, but also Sarah Silverman. Or Franz Kafka, Johnny Cash, and Pharrell Williams. Alongside insights from the dashboard, let’s also draw on insights from the Frankfurt Book Fair. A little more Biennale, instead of just Midjourney. And if we can manage to ensure that, in the end, our LinkedIn posts are no longer inspired solely by other LinkedIn posts, but by Max Goldt, that would be nice, too. Right?

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Christoph Nann He is a co-owner and managing director of the Hamburg-based brand management agency CarlNann and CCO at ArtgroupCN, a joint venture with FCB Artgroup in Istanbul. Christoph began his career in communications 25 years ago and, in addition to his work as an entrepreneur, remains a passionate creative and a multiple winner of prestigious industry awards. He also serves as a judge on various creative award juries.

This article first appeared in the m&k print edition 11-12/2024.

m&k: Larissa Pohl, Ralf Nöcker, the «2024 Advertising Year» is drawing to a close. You know the industry inside and out. What is your assessment; what are your «conclusions»?

Larissa Pohl: The focus has shifted. At the beginning of the year, AI was the dominant topic; while it remains important, of course, the conversation has shifted back toward economic issues—namely, costs and revenues. The shortage of skilled workers is still an issue, but it has lost some of its urgency.

Ralf Nöcker: I hear that business is becoming more fragmented. Clients have become more cautious and are putting off larger projects. Projects are getting smaller, and this has made it harder for agencies to plan their business.

 

What were some of the highlights of the GWA—and what challenges did you face?

LP: One highlight is the continued strong growth in membership. If there’s one relevant KPI for association work, this is it. No one is required to join an association, and it even costs money. Here, we’ve clearly succeeded in creating an attractive offering, and word has spread throughout the industry. There were also many other highlights—we held over 90 events with a total of around 4,000 participants—none of which I’d like to single out.

RN: One of them really stood out for me, though: My personal highlight was «StratCon,» the conference for agency strategists and planners. It was very inspiring and went off without a hitch right from the start—even the inaugural event sold out quickly. And the Effie Gala and Congress in Leipzig also ran flawlessly this year. Great case studies and presentations, a great audience, and a great gala.

 

In early 2024, you mobilized the industry and launched a campaign against hate, the shift to the right, and populism. You stepped up your efforts again in the summer. Was the campaign—you’re welcome to break down your answer into different aspects—successful?

LP: Success here means having set an example as an industry. You have to see this in context—«Together for Democracy» was a response to the events in Potsdam that were uncovered by Correctiv. It was a time of massive demonstrations against the far right. «Together for Democracy» was part of that movement—not with signs on the street, but through the participating media outlets, to whom I would like to express my sincere thanks once again.

RN: You can’t really call this a “real” campaign in the strict sense of the word, but that wasn’t the point anyway. The goal was to respond quickly to the events in Potsdam. In a remarkably short amount of time, we launched a call to action with a very wide reach. The fact that we, as an association with so many media partners, managed to pull this off in such a short time is success enough.

 

The German economy is—and that’s putting it mildly—being «shaken up» as I’m writing these questions. Furthermore, as of the end of November, the government in its current form has failed; in 2025, there will be a vote of confidence and new elections. Are your members growing concerned that all of this could affect the agency industry?

LP: «Unrest» might be the wrong word. People are bracing themselves for what’s to come. And the economic situation hasn’t been particularly good for quite some time now. The political stalemate in Berlin, which has been going on for months, hasn’t been good for the economy as a whole, and the agencies are feeling the effects of that, too. The new elections in February may bring some calm and confidence here, and the economy has a lot to do with psychology, after all.

RN: What’s missing from the question is what I consider to be the most important factor: the consequences of the U.S. election. If the new president follows through on his economic threats, it will send shockwaves through Europe and Germany. Let’s hope the Republicans have a better grasp of macroeconomic dynamics than their leader does.

 

Larissa, you recently called on agencies in an interview to work more closely together—to tackle challenges as a team. Why did you feel this appeal was important?

LP: Because this industry faces challenges that it cannot solve by competing against one another, but only by working together. Clients frequently take advantage of their relatively strong negotiating position to secure economic benefits that, in the medium term, will also harm them. Furthermore, no single player in the market can effectively organize the critically important dialogue with policymakers on its own. It is here that the framework conditions are established—conditions from which we either benefit or under which we must suffer. And these are just two examples.

 

How can you get a highly competitive industry to truly set aside its competitive mindset in certain areas … for the benefit of all?

RN: By organizing exchanges as an association that focus on topics that do not make a decisive difference in the competition among members. It doesn’t give any agency a competitive advantage to exchange information with another agency—for example, on processes and cost structures. Here, agencies can learn from one another without it having a negative impact on the market. I am, however, somewhat surprised at how well this works within the GWA.

LP: For its members, the GWA is simply a «safe space.» That’s part of its cultural DNA. All members are very open about many topics and benefit enormously from these exchanges—only to go head-to-head the very next day in a pitch to win a new client.

«Projects are getting smaller, and this has made it harder for agencies to plan their business.»

 

You may have noticed that the Swiss agency Wirz is experimenting with a new payment model—German industry media have picked up on this, and German podcasts on the topic have also been released. Could this bring new momentum to the DACH market in 2025, or will it remain an exotic one-off?

LP: This is by no means an isolated case. Even though hourly billing remains the dominant model, we should dispel the impression that individual agencies are suddenly breaking new ground in this area. If the project is a good fit and the client is on board, virtually every GWA agency likely offers other billing models as well, whether in the form of a flat fee or performance-based compensation. But one thing must not be forgotten: Many clients simply demand hourly rates and are reluctant to negotiate on this point. So you have to be able to push through innovative models, and it always takes two to tango.

 

Another thing I’d be interested to know: Where do you see the bigger problem for your members—in the «hourly billing» that Wirz is now opposing, or in the «broken pitch culture» that has been a recurring issue for years but has yet to be resolved?

LP: I'm not sure what the question is getting at. Is it about economic damage? Or emotional distress? In any case, both issues are very relevant and have been on the GWA's agenda for a very long time.

RN: And neither of these issues can be resolved through one-sided statements by associations—antitrust law stands in the way—but only through dialogue with the client side. Incidentally, we mustn’t forget the public sector either. A great deal is going wrong there.

«The industry faces challenges that it can only overcome by working together, not by competing against one another.»

 

To wrap things up, let’s talk about one of the topics closest to our hearts—creative excellence. Is it a formula for producing truly great communication, even in times of crisis and scarce resources?

LP: Creative excellence is the core product of our industry. However, it involves more than just a ‚traditional‘ understanding of creativity, which tends to focus on the tangible product—that is, the «big idea» and visual style of the campaign. It’s about creative solutions to the communication challenges faced by clients. Creative excellence in this sense is, in theory, always in demand—including, and perhaps especially, during times of crisis. In practice, however, we repeatedly see a strong tendency to slash communication budgets as soon as the economy takes a turn for the worse.

RN: Yet countless studies show that countercyclical investment behavior is the right approach. Regaining market share lost during a crisis is an enormous undertaking. Austerity measures taken during a crisis will come back to haunt you by the next economic upswing at the latest. Investments in creative excellence always pay off.

 

How can we promote this excellence?

LP: We don’t need to promote the creative excellence of GWA agencies, because, first of all, it already exists, and second, it’s a core business responsibility of every single member. What we as an association need to promote is communicating the value of this expertise to clients. It’s not so much the brand managers who need to be convinced here—they usually already are. The situation is quite different in procurement departments and among top management. In this respect, «Winning the C-Suite» is one of the challenges facing marketers and their agency partners.

RN: In this context, we need to foster a better understanding of how creative excellence leads to effectiveness. And not by looking back, but by looking ahead as we design the relevant processes together with creative and media agencies, advertising companies, platforms, and media outlets. There is still a great deal of ignorance and silo mentality in this area. There is plenty of room for improvement.

 

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Larissa Pohl is the current president of the GWA, the association of Germany's leading agencies. She is the first woman to lead this association. At the same time, she serves as Europe Lead at Open X, a WPP agency created specifically for Coca-Cola.

Ralf Nöcker He has been the managing director of the GWA since 2009. As a business editor for the *Frankfurter Allgemeine Zeitung*, he previously covered the advertising industry, among other topics, and also served for several years as deputy head of corporate communications at Kienbaum Consultants International.

Both in corporate management and in marketing, arguments are often based on generational labels such as «Baby Boomers,» «Millennials,» or «Generation Z.» These terms currently dominate strategic debates about the future viability of companies, as there is a hope that they will enable businesses to target emerging demographics more precisely and better prepare for fundamental changes.

However, this simplistic way of thinking in terms of cohorts fosters stereotypes and dangerously oversimplifies complex realities. Studies show that people born during the same period often differ from one another more than they have in common. Individual experiences and values shape people more than their year of birth.

Upon closer examination, the question arises as to whether these categorizations truly offer any added value—or do they foster misunderstandings and poor decisions that ultimately do more harm than good?

Reality or Myth?

Categorization by generation is based on sweeping generalizations and a simplified view of entire age groups, which often rely solely on supposedly generalizable social events and technological trends. As a result, a generational conflict is often conjured up—both in society and in the workplace—and in many cases, it serves as a justification for misunderstandings among employees, among managers, and in customer interactions. But how real are these differences, really?

The facts we know contradict the notion of a so-called «generational conflict»: Individual values, life circumstances, experiences, and personal development shape people far more profoundly than the year they were born. The question, then, is whether it makes sense to place such a strong emphasis on generational labels, as is often the case, or whether we should focus on people and their individual stories.

A Look Back: Generation X and Its Prejudices

As early as the 1990s, when Douglas Coupland’s book *Generation X* was published, the idea of classifying generations came under criticism. The book described the generation of young adults at the time as aimless, pessimistic, and lacking career prospects. Grunge music, lethargic attitudes, and the consumption of Cherry Coke became symbols of this supposedly «lost» generation. I myself belong to this Generation X and found these classifications to be exaggerated and not very accurate—especially considering that Europe and the U.S. had very different social and economic conditions at that very time. At the time, I was still living in my hometown of Berlin, had just taken my first diploma exams, and was in high spirits. The prospects were more than promising—not only for landing an attractive job, but life itself (so soon after the fall of the Berlin Wall) was exciting and rich in experiences.

«I myself belong to Generation X and found this classification to be somewhat inaccurate.»

This phenomenon is repeating itself today in the discussion about Generation Z. It is often claimed that «young people are glued to their smartphones» or «have no ambitions.» But are these stereotypes really accurate? Anyone working in corporate management who regularly collaborates with young professionals will find that the reality is much more nuanced. There are ambitious, tech-savvy, and creative minds in every age group—just as there are people who struggle to adapt to new challenges. The differences here are more a matter of individual characteristics than of belonging to a particular generation.

Why Labels Are Misleading

While historical events and technological developments are often cited to explain commonalities within a generation, the picture remains unclear. A frequently cited example involves two figures like King Charles III and Ozzy Osbourne—both members of the baby boomer generation, yet with completely different lifestyles. Generational labels thus oversimplify a complex reality and distract from the factors that truly matter: the individual life paths and experiences of each and every person.

In marketing, these oversimplified categories can lead to poor decisions. Generations are often viewed as homogeneous segments that share similar values and needs. But the reality is more complex: Two members of Generation Z, for example, may have completely different priorities—such as one person who spends a lot of time on social media and another who avoids it. Companies should therefore move away from blanket assumptions and develop personalized approaches.

Impact on Brand Trust

The tendency to categorize people based on generational labels fosters stereotypes that can have a negative impact on brand trust. Statements like «Millennials are lazy» or «Baby Boomers are hard to excite» have little to do with the actual diversity within these groups. Our own studies on «Generation 55+» show that behind the so-called «Silver Surfers» lies a wide range of interests and behaviors—from music lovers to travel-loving culture enthusiasts to tech-savvy consumers. An excessive focus on age groups can therefore lead to overlooking valuable target audiences and missing out on market opportunities.

Technology transcends age

Another misconception is that older people are less tech-savvy. In reality, consumers of all ages are increasingly using digital media and technologies. Studies show that tech-savvy older adults are often more profitable and loyal customers. Companies that rely on outdated assumptions could, in turn, overlook valuable market segments.

«(…) King Charles III and Ozzy Osbourne—both representatives of the baby boomer generation, but with completely different lifestyles.»

Technological developments do not affect only younger generations. Older employees often demonstrate a remarkable ability to adapt when it comes to learning and using new digital tools. Training and continuing education programs open to all age groups help foster these skills across generations. Technological change affects all generations and should not be reduced to a matter of age. Companies that involve all employees in this transformation can secure a clear competitive advantage.

The Battle for Skilled Workers

In addition to technology, there are other factors that shape the mindset across generations. For example, the labor market in many industrialized countries has shifted from an employer’s market to an employee’s market. Today, well-educated, young professionals have greater freedom to choose their employers; they demand more flexible work models and meaningful work. However, this change affects not only Generation Z but also older workers, who likewise seek greater flexibility in their work. The difference, therefore, lies far less in generational differences than in the structural changes in the labor market.

Companies that ignore this shift will struggle to compete for the best talent. It’s no longer enough to simply offer a good salary—corporate culture, flexible work models, and opportunities for self-fulfillment are crucial. In their marketing communications, companies should also take these changes into account and no longer address customers based on generational labels, but rather focus on their individual needs. Here are four practical tips summarized once again:

Personality Trumps Brand

Companies should refrain from judging people through the lens of their supposed generation. Instead, it is important to view every employee and customer as an individual with their own talents, needs, and experiences. Internally, this means creating tailored development programs that focus on personal goals, rather than applying «one-size-fits-all» approaches based on age groups. In marketing, companies should develop personalized customer communications that address specific interests and behaviors, rather than relying on oversimplified generational stereotypes.

Innovation «belongs» to everyone

Technology should be accessible across generations. Internally, companies benefit from offering training and professional development programs that include all age groups and promote the exchange of knowledge. This prevents older employees from being marginalized and ensures that younger employees are not perceived as the only technology experts. In a marketing context, this means designing digital tools and platforms so that they are accessible and usable by different age groups, rather than optimizing them solely for a specific generation.

Viewing Diverse Markets as Opportunities

Companies should use the new dynamics in the labor market as an opportunity to position themselves as attractive employers. Internally, this means taking employees’ needs seriously and offering flexible work models, open communication, and opportunities for autonomy. Such approaches not only make it easier to attract and retain talent but also to foster loyalty among different generations within the company. In marketing, this is reflected in companies recognizing the diversity and growing autonomy of customers and creating offerings that cater to individual preferences rather than generation-specific assumptions.

«Technology should be accessible to all generations.»

Encourage exchange

One of the most effective ways to debunk the generational myth is to encourage active dialogue between different age groups. Internally, programs such as «reverse mentoring» can be implemented, in which younger employees coach their managers and share knowledge with one another. Advisory boards for young or older employees bring fresh perspectives to corporate strategy. Informal approaches such as «lunch lotteries,» in which employees from different generations are randomly paired, promote dialogue and mutual understanding. In marketing, these principles can be applied through interactive platforms or communities where customers of different ages engage in dialogue and learn from one another.

Bottom line: It's time for a change!

It is time to leave the “generational myth” behind and take a new, nuanced look at the world of work. The future belongs to those who recognize the diversity and complexity of people and collaborate across generations. When companies are willing to see people for their uniqueness, they can achieve long-term success.

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Prof. Dr. Marcus Schögel conducts research, teaches, and works at the University of St. Gallen. At the Institute for Marketing & Customer Insight (IMC-HSG), he focuses on strategic issues related to customer-centricity, effective approaches to customer experience management, and the design of successful go-to-market strategies. He is the author of the «Customer Experience Navigator» and actively advises companies on their holistic and integrated focus on the market and customers.

This article is an expanded version of a TED Talk that Marcus Schögel gave in February of this year at the TEDx conference «Perceptions» in Berlin. The video, titled «Why We Should Quit Generational Stereotypes,» is available on the TEDx channel on YouTube.

The author used ChatGPT for help at the beginning. However, his own «well-intentioned but counterproductive changes» make this post a «work of human creation.».

This article first appeared in the m&k print edition 11-12/2024.

For many, it’s probably THE ultimate Christmas commercial: Coca-Cola’s Christmas trucks rolling into town, heralding the holiday season with the song «Holidays Are Coming.» Although the giant trucks spew massive amounts of exhaust fumes and instantly transport you back to the 1990s, they remain absolute classics of the pre-Christmas season even today. This is also true for Johanna Gollnhofer, professor of marketing at the University of St. Gallen: «This commercial sticks in people’s minds—including my own—because it relies heavily on visuals to evoke the festive spirit and has established the truck as a symbol of the start of the Christmas season.»

The combination of music, lighting, and the arrival of the Christmas truck evokes a «collective Christmas spirit» that still touches many people emotionally to this day. «This continuity and nostalgia convey a sense of familiarity and show how advertising can become a ritual.»

John Lewis Turns Ads into a «Happening»

The expert also considers the Christmas campaigns of the British department store chain John Lewis to be particularly successful. «These commercials stand out for their moving stories and artistic design, which often address social issues and contemporary values.» According to the 37-year-old, the elaborately produced advertisements succeed in evoking emotions such as joy and compassion. The productions each have almost the character of mini-films and often leave a lasting impression because they go beyond mere consumerism.

«At Christmas, commercials often take the form of mini-movies.»

«The John Lewis Christmas commercials are a prime example of how a brand can turn its campaigns into a social phenomenon,» explains Gollnhofer. These commercials have always been characterized by high production quality and creative storytelling. The British productions consistently succeed in creating a sense of anticipation and togetherness that goes beyond the advertisement itself. «In this way, the commercials not only strengthen brand loyalty but also the brand’s cultural relevance.»

More than «just» advertising

According to the director of the Institute for Marketing & Customer Insight at the University of St. Gallen, more and more people today look forward to Christmas advertisements, which goes beyond mere consumerism. «Brands have managed to turn these ads into ‚events‘ that people look forward to almost as much as a movie or a festive occasion.» This trend shows how advertising not only creates incentives to buy but also shapes traditions and collective expectations.

Christmas advertising has long been much more than just a marketing tool; «in many countries, it has become a kind of ritual that is part of the anticipation leading up to the holiday,» as Johanna Gollnhofer told m&k explained further.

Notes During the Christmas Season

In the run-up to the holidays, many advertisers ramp up their communications and compete for attention across all channels. «Visibility and presence are crucial to the success of a good Christmas campaign,» says Simon Flatt, Head of Media at Coop. This makes media planning particularly demanding and poses a major challenge every year.

For Luca Schwarz, Head of Advertising, Brand Image, and Private Label Brands at Coop, the Christmas campaign is a wonderful way to wrap up the year, and the 35-year-old takes particular pleasure in it when the campaign is something customers and employees alike can «experience» firsthand—rather than just a TV commercial.

The Story of the Grumpy «Mr. Marti»

Since November 23, the Swiss retailer’s Christmas commercial featuring «Mr. Marti»—a sad and initially grumpy Coop customer who at first isn’t at all impressed by the little notes from employee «Lulu»—has been airing on all of its channels. Eventually, however, the Coop employee manages to put a smile on the old man’s face with her little notes. This leads Marti to start interacting with another Coop customer, «Emma,» exchanging messages and a recipe with her inside the store. The climax comes when Marti is invited to Emma’s home.

The notes build on last year’s Coop Christmas campaign (see interview with Coop advertising director Vanessa Finzer). According to her, Christmas is always a very busy time, which is why so many departments and teams are involved—from promotions to brand management. The situation is similar for external service providers.

Too cheesy in May, but perfect for Christmas

According to Manuel Wenzel, Chief Creative Officer at the TBWA Zurich agency, both brands and consumers are currently more open to big emotions. What would have been too cheesy back in May is just right during the pre-Christmas season. So emotional messages are currently falling on more fertile ground. «Christmas advertising is perhaps the only kind that people—even those outside the advertising bubble—actually look forward to a little, maybe even get a bit excited about, and therefore pay closer attention to than other commercials and campaigns.»

«The commercials not only strengthen brand loyalty, but also the brand's cultural relevance.»

We wanted to know more about what the agency sees as the challenges of Christmas commercials. «Oh, we take every briefing seriously, but—for the very reasons just mentioned—we as an agency might invest just a little more passion into Christmas campaigns,» Wenzel reveals. And that’s exactly how it should be, because the creative director describes Christmas advertising as «a bit like the Super Bowl in Europe.» Both agencies and clients might demand just a tad more than usual for Christmas: «Everyone wants to create something truly special.» And although it’s almost always about emotional stories, they still try to break with convention a little within these «tight» parameters.

Take a Critical Look at the Previous Year

For the TBWA executive, what made the Coop Christmas ad campaign special was that the continuation of the note campaign this year was being critically questioned. Specifically, through the eyes of Mr. Marti, who rejects the messages on those very notes for very personal reasons—and, so to speak, the idea from 2023 as well. «I find that bold, but also extremely authentic, empathetic, and relatable.»

Although Christmas commercials tend to have more seconds dedicated to storytelling, according to Tobias Fueter, the biggest challenge remains the same every year: How can you tell a touching story that moves people in as little time as possible? Unlike humorous stories, an emotional story needs a little more time to allow viewers to immerse themselves deeply enough, explains the co-founder of the film production company Stories.

«We are grateful to be able to tell, in these turbulent times, a small, heartfelt story about two very different people who find their way to one another through the power of their hearts and the memory of their loved ones—without any special effects or fanfare,» said Fueter.

Before the holidays is after the holidays

Work on the 2025 Christmas advertising campaign will begin soon. «Our motto is: After Christmas is before Christmas,» explains Vanessa Finzer, who has worked in various marketing roles at Coop for over ten years. «The initial planning for the coming year always begins immediately after the previous year’s holidays.»

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INTERVIEW

«Christmas is a special time for us»

m&k: Vanessa Finzer, you told us that you're a big fan of Christmas yourself.

Vanessa Finzer: Yes, that's true. I love the atmosphere right now: Christmas music, Christmas movies, Christmas markets, the scent of cinnamon, and a touch of nostalgia. Ideally, our campaigns contribute a little bit to that festive spirit. That prospect helps when things get a little hectic again in the run-up to the holidays (laughs).

 

This year, just like in 2023, Coop is once again using the «note messages» concept. Couldn’t you have just «copy and paste» for the current campaign?

No. It’s just that the central theme is the same this year. Campaigns of this scale are very labor-intensive for everyone involved. But the Christmas campaign is always a creative challenge, which I find absolutely inspiring. That’s another reason why all the effort was totally worth it.

 

Why did you decide to go back to using «notes»?

This idea has sparked a wave of enthusiasm not only among our customers but also within our company. The campaign is more than just a commercial; it’s an experience, especially in our stores. We’re putting the themes of appreciation and gratitude front and center, as they go far beyond mere advertising.

 

Who is in charge of your Christmas productions each year?

The concepts over the past few years have come from various sources: the agency, the production company, and even Coop itself. But what matters is the idea itself—not where it comes from. It’s simply a joy to work together as a team to bring these concepts to life.

 

How much does a campaign like that cost?

Just this much: Christmas is a special time for us, when we make more room for storytelling. Our commercials are therefore longer than usual and are aired more frequently to spread the festive message far and wide. As a matter of policy, we do not comment on budget figures.

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This article first appeared in the m&k print edition 11-12/2024.