What makes a happy and stable relationship? Couples agree on this question: love, of course; humor, always good; sex, anyway. But the most important thing, the elementary basis for staying together in harmony for a long time, is trust. Only those who trust can rely on others, feel secure and communicate openly. Those who trust know where they stand.

"Consumers are more informed and demanding, which requires a greater emphasis on ethical behavior and trust-building on the part of brands."

This has always been the case in private life - but trust is now also becoming increasingly important in marketing. For a long time, the ultimate goal of many brands was to become a love brand. For good reason, because those who can call themselves such are loved so much by consumers that they have little desire for alternatives, are happy to spend a little more on their great love and even regularly recommend them to others. A factor that is still important. But times are changing: global crises are causing people problems and there is a great deal of uncertainty. The breakthrough of artificial intelligence also seems like a threat to many and makes it increasingly difficult to distinguish between what is real and what is not. People are looking for an anchor they can rely on - and trust. This is also shown by the special evaluation "Trust, the new brand equity" by Edelman: according to this, brands that can secure people's trust will be successful in the long term.

Trust is more important than love

Love, it says, is no longer enough today: Trust in a brand played an even greater role (80%) than love (72%) for respondents when making a purchase or usage decision. And 38% stated that although they love a brand, they would give it up if they did not trust the company behind it.

Love is good, but not without trust - many brands have also recognized this: Schöffel, for example, an outdoor outfitter with a 220-year history, has recently positioned itself quite openly as a trust brand. Together with Jung von Matt Brand Identity, the brand announced in June that it wanted to expand Schöffel's position as a trust brand with a sharpened brand design. "We are convinced that in a crisis-ridden world, trust brands will be more important and relevant to our customers than love brands in the future," says Head of Marketing Stefan Ostertag. "Our strategy and the new positioning allow us to emphasize the 'trust' aspect more strongly in order to establish Schöffel more clearly as a brand that customers not only trust, but also love and value." To this end, the brand has defined values that guide everything it does - such as reliability, joy and self-determination. "Everything we do must fit into this set of values. In this way, we guarantee that Schöffel is an absolute trust brand for our customers."

How do you become a Trustbrand?

Schöffel is a textbook example of how a brand can really focus on trust and prioritize trust-building factors. This is not something that companies can simply decide to do overnight, says Thomas Canzar, CEO of Saatchi & Saatchi. The expert knows: you are a trust brand - or you are not. "You can only build such a brand by living it - consistently" (see also interview). Only then can the brand communicate to the outside world that you can go through thick and thin with it and trust it.

"There is increasing social pressure for brands not only to maximize profits, but also to make a contribution to society through their actions."

Reader's Digest has been investigating who is a real trust brand in its annual Reader's Digest Trusted Brand Study since 2001. It examines which brands enjoy particular trust - this year in Germany, these were (among others) Allianz, Bosch, C&A, Dr. Oetker, Edeka, Nivea and Persil in various categories, and in Switzerland Nivea, Fielmann, Raiffeisen-Bank, Voltaren, Ricola and Mobiliar.

A lot has changed in terms of trust since the survey began: "The study shows that brand trust has changed significantly in recent years," explains Advertising Manager Georgia Stegmaier from Reader's Digest publisher Das Beste. "Brands used to be built mainly through traditional advertising and marketing measures. Today, transparency, credibility and a commitment to social and environmental responsibility play an important role. Consumers are more informed and demanding, which requires a greater emphasis on ethical behavior and trust-building on the part of brands."

Brands have a responsibility

This means that consumers today expect more from brands than just a flawless product that they like and perhaps even love. Brands have power - and bear more and more responsibility. In the trend study "Transforming Brands", the Zukunftsinstitut speaks of a "collective shift in values towards a more meaningful, ecological and collaborative economy and society", which is "rapidly increasing expectations of brands and marketing". Consumers, it says, expect transparency and participation with regard to what brands do.

Trust as a brand value is becoming a decisive hygiene factor - especially for large companies. "There is increasing social pressure for brands not only to maximize profits, but also to make a contribution to society through their actions. Brands today have to give something back," says Thomas Canzar. Those who don't do this run the risk of being replaced. This is because brand loyalty is decreasing, customers are increasingly better informed, can compare brands better, have more and more insight into the experiences and recommendations of others and can choose between more and more alternatives on the shelves. In Germany, 74% of customers are less brand loyal today than they were two years ago, according to a new study by Servicenow. Above all, the highly competitive Gen Z can no longer be fooled, with only 19% of those born around the turn of the millennium describing themselves as particularly brand loyal in a study by NIQ. Today, no one can avoid trust.

The dimensions of trust

When it comes to the question of which factors actually build trust, two dimensions are important: Customers want to be able to trust that the price-performance ratio is right and that they themselves can expect a reliable product. But also that the brand does not harm others with its product and creates a positive impact. And because purchases are not rational in most cases, the basic prerequisite is "that people have a clear conscience about buying a brand," says Thomas Canzar. A clear conscience as the basis for trust. And for a long, happy relationship.

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REQUESTED

"Love alone is no longer enough"

Thomas Canzar is CEO of Saatchi & Saatchi. In an interview with m&k, he talks about trust, love and customers who build a long and happy relationship with their brands.

m&k: Thomas Canzar, Lovebrand or Trustbrand: What advice do you give your customers?

Thomas Canzar: I always like to quote the phrase: "Without trust, there is no love!" Both are justified. But in today's world, trust is the foundation for becoming a love brand. People are looking for security, while at the same time brand loyalty is declining. This means that the brand or its positive preconception is becoming more relevant in competition with other brands - and pure love brands that do nothing to build trust will have a harder time. This is because people are taking a closer look, and love alone is no longer enough.

 

How do you create trust as a brand - and become a trustbrand?

Brands cannot simply decide to become a trust brand overnight. It's about living trust consistently - and anchoring it in your DNA. Acting transparently and responsibly and understanding the needs of customers. People only trust brands that provide answers to the uncertainty in the world. And not brands that simply give themselves a new look. Brands must therefore show: I understand you better than any other brand.

 

What role does communication play in this?

A few years ago, advertising was all about being as authentic as possible and not using clichés or the perfect advertising world. Today, that is no longer enough. It's about finding a real insight that moves people - and basing communication on that. As an agency, it is also our responsibility to work with our customers to define, based on data, which factor builds trust with them - and to creatively translate this into the focus of communication.

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This article first appeared in the m&k print edition 8-9/2024.

Maxim Gorky is said to have remarked that poets build castles in the air, readers live in them, and publishers collect the rent. Gorky undoubtedly meant this as a put-down. But it can also be taken as a compliment: publishers are landlords of castles in the air. This definition encompasses two skills that publishers must possess: they are able to recognize a castle in the air (which is sometimes harder than one might think), and they manage to get people to pay rent for it. Two impressive skills.

(Almost) every tuxedo is a newspaper

Carl Zuckmayer shaped my view of publishers. In his memoir, *Als wär’s ein Stück von mir* (*As If It Were a Part of Me*), he described the impromptu celebration following the resoundingly successful premiere of *Der fröhliche Weinberg* on December 22, 1925: «Every third man in a tuxedo holding a plate of cold salmon or a glass of sparkling wine bore the name of a newspaper or a book title: here an Ullstein, there a Mosse, over there an S. Fischer, across the way a Rowohlt, and over here a Kiepenheuer. One wouldn’t have been surprised if the Horen from Horen Verlag had personally floated in to be offered a Courvoisier or a whiskey.»

«In Middle High German, »verlegen' means nothing other than 'to spend money.'"

As Carl Zuckmayer wrote, a publisher is a person who «bears a newspaper headline or a book spine as a name.» The names of Carl Hanser, Samuel Fischer, and Ernst Rowohlt continue to shape the publishing landscape to this day, even though the publishers at those houses have long since been replaced by others. The same is true for newspaper publishers, except that names like Marcus Dumont and Leopold Ullstein have long since been forgotten. Even at Springer or Bertelsmann, which still bear the names of their founders today, the entrepreneurs who founded them have been forgotten. Take Carl Bertelsmann, for example: He founded C. Bertelsmann Verlag on July 1, 1835. Since the acquisition of Random House, Bertelsmann has been one of the largest and most influential publishing houses in the world. Carl Bertelsmann began in 1835 by publishing Protestant devotional literature and hymnals.

Courage means taking the initiative

Like any publisher, Carl Bertelsmann had to advance the funds and produce the publications at his own expense. That is exactly what the word «publisher» means: it has its historical roots in the medieval publishing system. An entrepreneur would provide raw materials to home-based workers so they could produce goods for him. The entrepreneur had to pre-finance the raw materials—that is, «advance» them. In Middle High German, «verlegen» means nothing other than «to spend money» or «to take something on one’s own account.» A meaning that is all too familiar to today’s publishers.

"The B.Z. at Noon »boasted that it was the fastest newspaper in the world."

In the 19th century, it took courage to invest in printing and distributing publications. Courage and ideas. Joseph Pulitzer (1847–1911) had both. Born in Hungary in 1847, Pulitzer emigrated to the United States in the 1860s and took a job as a reporter in St. Louis for the German-language «Westliche Post.» In 1873, he left the company and founded his own newspaper, the «Post-Dispatch.» Within a few months, he increased his newspaper’s circulation to 40,000 copies. Over the years, he acquired additional newspapers, including the «New York World.» With this newspaper, Pulitzer achieved sensational success—in part through sensationalist reporting. He focused on meticulously researched articles exposing abuses such as corruption and published the first cartoons. In his will, he stipulated that two million dollars of his estate be used to establish a «School of Journalism» and to fund a journalism prize. As a result, the Pulitzer Prize has been awarded every year since 1917.

The Father of the Litfass Column

Ernst Litfass (1816–1874) was another ingenious innovator. His father had already been a printer. In 1846, Ernst took over the business and launched new publications such as the *Berliner Krakehler* and the *Berliner Schnellpost*. He introduced color printing and was the first to print giant advertising posters measuring 20 × 30 feet (about 6 × 9 meters). To prevent advertising posters from being posted haphazardly, he invented a poster column, which was named the «Litfass column» after him. In 1855, he installed 100 such Litfass columns in Berlin. These poster columns still exist today: in Germany, there are reportedly still around 67,000 Litfass columns in use.

Ullstein: Faster Than the Competition

Louis-Ferdinand Ullstein, on the other hand, has largely been forgotten. His father, Leopold Ullstein, had founded the Ullstein publishing house in 1877. In 1899, his son Louis-Ferdinand (1863–1933) took over the publishing house and the *Berliner Zeitung*. In 1904, he revamped the *B.Z.*: Instead of producing a morning and an evening edition like any sensible daily newspaper, the «B.Z.» now appeared only at noon and was sold by newspaper boys on the streets. The paper relied on sensational headlines. Since the newsboys sold the «B.Z. am Mittag» primarily on the largest streets—which Berliners call «boulevards»—this genre of newspaper with sensational headlines is still known today in German-speaking countries as a «Boulevard-Zeitung.» The «B.Z. am Mittag» prided itself on being the fastest newspaper in the world. The paper went on sale on the streets every day at 1:00 p.m.—with the editorial deadline just half an hour earlier. When the «Daily Telegraph» published an interview with German Emperor Wilhelm II in London in 1908 that contained politically highly sensitive statements, the «B.Z. am Mittag» had the key statements on the streets of Berlin just three hours later. No wonder the newspaper was a huge commercial success and permanently transformed the German media landscape. Louis-Ferdinand Ullstein, the publisher who set it all in motion, is unfortunately no longer known today.

The Era of Online Publishers

When you think of the most influential publishers (and here—finally—women are included!) of recent years, you naturally think of the internet and, with it, a generation of online publishers such as Michael Arrington («TechCrunch»), Ben Smith and Jonah Peretti («BuzzFeed»), and Ariana Huffington («Huffington Post»). They have all transformed the digital world with new publishing ideas. In Europe, however, another publisher was far more influential: Kjell Aamot. Born in Trondheim in 1950, the Norwegian served as president and CEO of the Oslo-based media group Schibsted ASA from 1989 to 2009. Under his leadership, Schibsted developed a new newspaper concept that caused a sensation throughout Europe: the free commuter newspaper. In 1999, Schibsted launched «20 Minuten» in Switzerland. The format was (and remains) extremely successful, especially among young readers. Tamedia therefore wanted to acquire a stake in «20 Minuten.» To, shall we say, drive home this point, Tamedia launched a competing product. Shortly before this «Express» was set to be published for the first time, Schibsted relented and allowed Tamedia to acquire a stake in the commuter newspaper. The «Express» was scrapped. In 2005, Tamedia was able to fully acquire «20 Minuten.».

Believed in castles in the air

Joseph Pulitzer, Ernst Litfass, Louis-Ferdinand Ullstein, and Kjell Aamot—to quote Maxim Gorky—believed in their pipe dreams. Today’s publishers no longer have much to do with pipe dreams. Many large media companies are part of publicly traded corporations. For example, the sender listed on subscription invoices for Swiss newspapers such as the *Tages-Anzeiger* or the *Basler Zeitung* is «TX Group Billing»—it could just as easily be a panty liner ad or an electricity bill.

«Kjell Aamot developed (...) a new concept for a newspaper: the free commuter newspaper.»

And yet they still exist: publishers who pour their heart and soul into building castles in the air. Take Peter Wanner (*1944), for example. He is a fourth-generation publisher in the canton of Aargau. This is the no-man’s-land between Basel, Bern, and Zurich—in the U.S., it would be called a «flyover state.» Peter Wanner’s grand pipe dream: a publishing house of national significance in Switzerland. In 2023, he handed over his publishing company, CH Media, to his children—the fifth generation. Today, it is the third-largest publishing house in the country. Annual revenue: nearly half a billion francs. The group comprises 80 media brands. The problem: these are primarily regional newspapers and local radio and television stations. Regional journalism is a tough business. At the end of 2023, CH Media was forced to announce the largest round of job cuts in Swiss media history: 150 full-time positions were eliminated.

Ringier remains Switzerland’s largest family-owned media company. Founded in 1833 by Johann Rudolf Ringier, Ringier AG has been a family-owned business ever since. Michael Ringier (b. 1949) is the fifth generation to lead the media company. In Switzerland, Ringier is best known for the tabloid «Blick» and «Schweizer Illustrierte.» This masks the fact that Ringier is now a diversified company with operations in over 20 countries. The publishing house is committed to the digital transformation: Ringier actively promotes new technologies and business models. It sounds like a publisher straight out of the Litfass era. The biggest difference: Michael Ringier doesn’t come across as an old-school boss.

Changes Become Business Ideas

What do Ernst Litfass, Louis-Ferdinand Ullstein, and Kjell Aamot have in common? They all drew inspiration from changes in people’s behavior to develop new business ideas: the advertising column, the street-vendor newspaper, and the commuter newspaper. As the word «publisher» suggests, they had to put up the money upfront and invest in order to bring their idea (their pipe dream) to life. So they took a big risk. As with Peter Wanner, that risk sometimes threatens to bring the pipe dream crashing down. As with Kjell Aamot, success attracts the hyenas. Time and again, however, changes in the world lead to new ideas that—at great personal risk—can be developed into a new business venture. Right now, the world is changing rapidly once again. Many people are changing their behavior. Good times for new publishers. And female publishers.

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This article first appeared in the m&k print edition 8-9/2024.

Women die from side effects of medication. Why? Because they can't tolerate them. Why? Because the drug studies are carried out on men. Why? Because women are forgotten. How do you know that? "I worked as a regulator and in order to approve drugs for Switzerland, I naturally looked at how they were tested."

"The fact that around 66 percent of Alzheimer's patients are female is alarming and raises important questions."

I sit opposite her, look into her sparkling eyes and know that this woman will not let up until she reaches her goal. Dr. Antonella Santuccione Chadha received the Empowering Women Award the evening before at the League of Leading Ladies Conference in Bad Ragaz. For her groundbreaking research in the field of women's health. With the Women's Brain Foundation, of which she is the founder and pro bono CEO, she can now apply for research funding, tap into channels, look for international partners, talk to universities, support start-ups and hopefully set up a research institute. Because that's what she wants. Saving women's lives, that's the mission. When another irritated professor looks at her face and asks why she is in such a hurry, she is stunned. "People are dying, I don't have time, so I need all the support I can get right now." Period.

"I actually wanted to become a policewoman"

She actually wanted to become a commissario. To emulate her father, who was a respected police officer in Abruzzo. But he forbade her to do so. Why? "You're a woman." "Then I'll be a human detective, a doctor," I said. Many women found that strange. Why? Because female doctors can't have a family? But that's what spurred her on, and so she threw herself into studying medicine. Researching, not letting up, the irrepressible curiosity, venturing into new territory - she now puts this talent into women's medicine. She works for major pharmaceutical companies worldwide, is a highly respected employee and head of large teams. She also founded the Women's Brain Project association. She works with researchers all over the world, researching gender differences in brain diseases such as depression, migraines, anxiety, COVID, Parkinson's and Alzheimer's disease. These diseases occur more frequently in women, progress differently and therefore need to be treated differently. But why are they more common? "That's the question, it has to do with hormones, with proteins, with microbiomes. Women's bodies behave differently to men's. It is crucial to invest in research so that women do not die, so that women are treated appropriately, so that they do not fail in the economy. 50% of the world's population is female, so a huge potential is being lost. Because women fall ill and withdraw from society. That doesn't have to be the case. If they were treated properly, women could have completely different disease progressions. Dr. Antonella Santuccione Chadha knows that she is not making any friends in some circles, she doesn't have the time or leisure to deal with this. After six years, the association is now being transformed into a foundation. That's a lot of administration. It's a new experience for the doctor. She is getting to know new people, new challenges, but the detective gene she inherited from her father allows her to forge ahead with ever more enthusiasm and tenacity. And sometimes, she even uses her chess skills. The path to the goal is not always straightforward. Step by step, always thinking one step ahead, she approaches her goal. She now has five team members and 60 scientists working on the research. Collaborations with Barcelona, Toronto, Australia, the USA and others are providing new insights, puzzle piece by puzzle piece.

"People are dying, I don't have time, so I need all the support I can get right now."

Recently, the company joined forces with Medscape, a leading global online platform for doctors and healthcare professionals. Potentially 5 million doctors and 15 million nurses will be trained and sensitized in medical training courses. Dr. Antonella Santuccione Chadha is confident and almost euphoric about the support. The large corporations in particular are coming forward and offering their support. In the summer, a major campaign was launched to draw attention to the issue of women's health. The Ogilvy Switzerland agency has implemented the topic in a humorous and well-pointed way (see interview below).

Why women's medicine in particular?

Antonella Santuccione Chadha is fully committed to the foundation. The goal is a research institute for gender medicine. To this end, the doctor has turned down a well-paid job in a pharmaceutical company that she has just been offered. She wants to dedicate herself 100 percent to her research, taking every step that brings her closer to research funding, investors, philanthropists and government grants.

She draws strength from her husband and her two sons. Because the greatest miracle in life, the greatest joy, are her two children. She always wanted to be a mother, that was clear. When she meets her husband, she also knows who the father of these children will be. The two of them marry, although the difficulties pile up. Both families are against the marriage. She is a full-blooded Italian, he is a German with Indian roots. "Delhi, Italy, Zurich, the wedding was a Herculean task," she says with a laugh. But she immediately becomes serious again. As a brain specialist, she was not immune to the tragedy that paved the way for her persistent research.

She loses her first child while still pregnant, it would have been a girl, the reasons lie with the unborn child's brain. She finds it so macabre, her own specialty of all things. She cannot talk about it for 10 years, the memory hurts too much. She writes a book "Una bambina senza testa", which helps the healing process.

Her work as a researcher and regulator and the realization that studies in which only men participate distort the results sparked her anger. The effects and side effects did not appear to be the same for men and women to Santuccione. When she asked drug developers, she received perfectly worded answers. These did not satisfy her. The problem, the doctor decided, must be solved systematically. Worldwide. And so she began her research, founded the association and worked with doctors from America, Australia, India and Europe. The transfer to a foundation and the research institute are steps that the doctor and her team are taking to ensure that women around the world receive the treatments they deserve.

We are still sitting in the lobby of the hotel, I have lost track of time and am completely immersed in her world. But my counterpart is in a hurry, time is of the essence. I let her go, knowing that women's health is in the best hands with her.

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REQUESTED

"The headlines should provoke and stimulate discussion."

 

m&k: Ogilvy created the Women's Brain Foundation fundraising campaign. What insights did you use and how did you implement them?

Ogilvy: After the briefing from the Women's Brain Foundation, the entire agency gathered insights and ideas for the project as part of our internal creative process, which we call "Hippocampus". Our campaign was born from this creative exchange. Alzheimer's is a disease that every family has probably come into contact with in some way. So it goes without saying that there are various experiences in the room. The fact that around 66% of Alzheimer's patients are female is alarming and raises important questions. This insight was used to link the campaign with the issue of the proportion of women.

 

How did you come into contact with Antonella?

We got to know Antonella at an event where she was appearing as a speaker. After a conversation, she was so impressed by our expertise that she commissioned us to run a fundraising campaign. Anyone who meets Antonella knows how much energy and passion she puts into fighting for the cause. It was therefore clear to us that a campaign for the Women's Brain Foundation should neither come across as well-behaved nor generate pity. The headlines should provoke and stimulate discussion. The fact that Antonella also won the Empowering Women Award this year is confirmation for us that we have a very special partner.

 

What were the challenges/highlights?

Financing and visibility of such a campaign were a challenge. However, thanks to our networks and those of Antonella, we were able to find solutions. A particular highlight was the seamless collaboration between creative minds and health experts, which is crucial for projects of this kind.

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Dr. Antonella Santuccione Chadha has the 2016 Women's Brain Project (WBP) was founded with the aim of investigating the influence of gender differences on the brain and mental illnesses. The core of the research is that illnesses never develop in the same way in women and men and therefore medications also work differently. Dr. Santuccione Chadha's work and impact therefore not only has a great influence on her immediate environment, but on women all over the world. At the end of August, her name was printed on a ribbon as part of the Fraumünster-Katharinenturm concept. 500 women are immortalized there, whose impact in the past and present is honoured.

Chadha has been listed among the Top 100 Women in Business in Switzerland since 2018 and was named Woman of the Year in Switzerland in 2019. She was also honored with the World Sustainability Award for her contribution to the advancement of precision medicine and the Premio Medicina Italia for her efforts in dealing with the pandemic. In 2022, she received the Veuve Clicquot Bold Woman Award in Switzerland, and in 2023 she was honored as a pioneering global leader. In 2024, she received the Empowering Women Award at the League of Leading Ladies Conference in Bad Ragaz.

This article first appeared in the m&k print edition 8-9/2024.

Getting all the business members around the table was about as easy as nailing a pudding to the wall. When we finally have an appointment and take a seat together in the corner of the sofa, you can tell how happy they are to meet each other again. "Wow, I've never sat here on the sofa with you before," Stefan Bircher bursts out laughing. At this precise moment, the photographer snaps the picture ... and the group photo is in the can.

The main reason for my visit to Shining in Wollishofen is actually the success in Cannes, together with Team Farner. It quickly becomes clear that everyone is very proud, also of the good collaboration with Farner, but it's still important to them not to trumpet successes too much, but to look at the areas behind the successes. And what are they? "Our employees," says Stefan Bircher emphatically. The Shining team is 20 strong. Many of them have trained and promoted them themselves and honed their strengths. Leonardo Sanfilippo is keen to emphasize: "The negative effect of staff turnover hits companies in the service sector particularly hard. We want to be a leader in the area of promoting young talent because we believe that giving employees exciting prospects and allowing them to stay with us for longer makes us more sustainable and efficient in the market." Caroline Braun adds: "Last year, we had a small, fine production with a mini-crew of six people. On the shoot, I suddenly realized that four of the six crew members originally started their careers as interns at Shining. Each went their own way, as director, production manager, camera ace and DIT. They were enthusiastic, professional and dedicated. That made me very proud."

"Only when everyone feels seen can everyone give their best, just like in a good family."

Stefan Girtanner also emphasizes how highly valued interns are at Shining. They can learn a lot if they are committed and know what they want to learn. "Over the years, we have extended the duration of our internships so that both sides get more out of the commitment," he says. Internships can be offered both at production level and in post-production, as Shining has a relatively broad base and runs an in-house post-production department, he adds. "Many people switch to a permanent position with us after their internship."

Stefan Bircher clears his throat, slightly moved by all the positive feedback and raises his (water) glass: "To the festivals and the free, you are Shining, you have made Shining what we are today. A thousand thanks and: SHINE ON, YOU CRAZY DIAMONDS!"

The beginnings

Stefan Bircher and Caroline Braun founded Shining Pictures in 2007 with the aim of specializing in commissioned commercials. To rejuvenate the industry. It was only on the way to the Chamber of Commerce that they thought about the name of the company. "I don't remember who came up with the idea of Shining Pictures ...", Stefan begins, Caroline interrupts him with a laugh: "Giants was also on the table because we were both growing, but today I'm glad we didn't choose that." The company grows slowly and organically. Sophie Toth came into contact with Shining in 2013, first as a freelancer, then as a permanent employee and soon became part of the management team. "I'm a doer, Caroline is the deliberate one, Leo is the emotional diplomat and Stefan Bircher is the cohesive one - we complement each other well," Sophie concludes.

"In our opinion, recognizing and supporting great talent at an early stage is a must-have."

During the start-up, Caroline works part-time and starts a family. In 2017, Stefan Bircher decides to take a one-year sabbatical. Because the order books are full, Leonardo Sanfilippo is recruited.

When Stefan Bircher returned from his sabbatical in 2018, the collaboration between the business partners changed once again. Everything is decided together, with everyone contributing their own skills and way of thinking and acting. "We share common values, but we all have completely different characters," summarizes Sophie. "We love family, have respect for life, people and nature, we like sustainability, stability and long-term relationships," adds Leo. This is how Shining Pictures GmbH finally became Shining Film in 2020 - with four equal partners.

Stefan Girtanner joined the Shining family in 2019. He has been working for the company as production manager for some time, is an asset, stable, humorous, competent and makes things happen. He was the missing piece of the puzzle. Is the Shining management team now complete? "After 17 years, we have now laid a good foundation," says Stefan Bircher. "We've built up great people, some move on, others stay, we allow everyone to grow, we don't want things to stand still. That's why we're always looking for the new Sophie, the new Caroline, the new Stefan or Leo." Shining Nice AG has been a new legal entity for independent films such as series, feature films and documentaries since 2024.

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REQUESTED

"Shining Nice is now an independent production for independent films."

Since 2020, Shining has also been producing longer formats in the field of independent films, series, feature films and documentaries. This has now grown into the company Shining Nice, which was founded and is managed by Sophie Toth. We spoke to her and Stefan Bircher about it.

m&k: How did the desire to expand the range of formats in 2020 come about?

Sophie Toth: I would like to expand on this a little. As a film production company, advertising jobs are particularly exciting when we are brought on board at a very early stage and can contribute our expertise right from the idea generation and script tendering stages. Our know-how and many years of experience contribute a great deal to the quality of the films and complement the creative teams of the agencies and clients. Some agencies already bring us in to pitch to clients. As storytellers, we quickly found great pleasure in longer formats such as the web series for Swisscom and Open Air Gampel. The idea for the fictional series "Tschugger" started to ferment. Before his career in advertising, David Constantin (Bax) had created the web series "Tschutter" on his own and with friends. We wanted to build on that, but do something new. So we pitched SRF for "Tschugger". As we couldn't explain the tonality, drive and style of the series to them sufficiently in words, we shot a ten-minute pilot at our own expense, consisting of a few scenes from the first season. And everything took off from there. The success of the series created demand for further seasons and so David and I were totally absorbed by the series production. There was no time left for advertising, but our understanding of advertising and our contacts helped us to implement communication measures to accompany the series.

 

Would you be able to highlight the peculiarities, developments and market trends of these related yet independent formats for us?

Toth: Product placements in films have a long tradition. The successful packaging of a brand identity in a context that is appropriate in terms of content and emotionally resonant lends a brand visibility and, in the best case, the image transfer is ideally utilized on both sides. The aim is to integrate the products or brand names as naturally and authentically as possible. The more popular and successful a film or series is, the greater its reach. This is how, for example, the series "Samsung X Tschugger 'FlipCodeMystery'", which won gold at the ADC, was created.

Stefan Bircher: We believe that a paradigm shift is underway as a result of the market entry of private streaming services. Filmmakers from the commissioned film market who have been trained in efficiency and target group understanding are being welcomed into the fiction market by both public and private streaming service providers. There is a noticeable increase in film productions in the fiction market that originally specialized in commissioned film productions.

 

How would you describe the learning curve?

Bircher: We have learned that the disciplines of commissioned film and independent film function very similarly during shooting, but differ greatly in the financing processes, in pre- and post-production and in the payment modalities due to the different dimensions. In the meantime, we have formed two legal entities from Shining, which are linked by the Shining umbrella brand strategy.

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Highlights from the Shining forge

"It is very difficult to select individual cases without doing injustice to others - an attempt:

In the beginning, cases such as "Zimtstern - Leaves", "BfU - Slow Down. Take it easy." and "SBB - unterwegs zuhause" were formative for us. The first longer formats such as the branded web series "Swisscom - Rocco" and "Gampel - Mitschdri" were just as decisive for the history of Shining. The entry into fiction with "Tschugger" in turn led to the first hybrid formats such as "Samsung - FlipCodeMystery". Over the years, we have had the pleasure of working for Schweizer Fleisch, Postfinance, SBB and Coop. And we recently received a Cannes Lion for the "Greenpeace - Breath" commercial.

Every collaboration leaves its mark. That's what makes our profession so exciting."

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Revision of the apprenticeship as a mediamatician

Shining is working in a Swissfilm Association (SFA) working group with ICT vocational training on the revision of the media technician apprenticeship. The aim of the revision of this apprenticeship is to set the course for talented content producers so that they are in greater demand on the market and more apprenticeships as mediamaticians are advertised. At tertiary education level B, the group is developing a higher professional examination with a federally recognized qualification through a sponsorship with the SWA, the LSA and the ADC. Under the working title "CCP" ("Creative Content Producer"), the working group recently received the green light and further subsidies from SERI (State Secretariat for Education, Research and Innovation) for the implementation of professional development.

 

This article first appeared in the m&k print edition 8-9/2024.

I regularly spend the summer months in Australia - not only because I appreciate the mild temperatures of the "August winter" and the vastness of the landscape, but above all because my wife's family lives there. The coastal town of Byron Bay in the state of New South Wales is a second home for us, so I also hear about things locally that don't make it into the international news.

One topic in particular has caused a stir in recent weeks: The airline Rex (short for Regional Express) is struggling with financial problems, has already had to lay off some of its employees - and may even be "grounded". If this happens, it could have serious consequences for the lives of many Australians. Why? Because Rex - in the absence of modern train and bus services - has become part of the essential infrastructure for countless people. Rex connects the city of Sydney with places such as Broken Hill, a thousand kilometers away, which can be reached within two hours thanks to the airline. The only alternative would be to drive along winding country roads, which would take at least 12 hours.

"Our Heart is in the Country"

The slogan that has been emblazoned on Rex airplanes for years: "Our Heart is in the Country" - loosely translated: "Our heart belongs to the country". This slogan is so "spot-on" that I use it as an example (and not just since the airline crisis) when people ask me whether brands need slogans at all.

My answer is usually: "No." If a brand is developed cleanly from the inside out - with its history, values and purpose in mind - then it stands "for itself" with a certain simplicity and can last for decades. It acts as an anchor - does not wear out, but conveys familiarity. At the same time, people want brand stories that fit the zeitgeist: good communication via campaigns and innovative messaging creates this. At some point, stories become repetitive and new ones have to be created, but the core of the brand is not compromised.

Slogans are condensed storytelling

If a slogan is attached to a brand a priori, it has a "definitive" story (because slogans are nothing other than condensed storytelling!). Of course, as just mentioned, stories can wear out over time and jeopardize the consistency of the brand. Slogans are therefore a risk that is often taken without need - and that's why I advise against them. Exceptions such as "Our Heart is in the Country" prove the rule: the airline fulfills exactly one purpose - and that is to connect the city with the country in Australia. The brand never wants or needs to do more. "Our heart belongs to the country" is the only story Rex needs to tell. And - despite the current turbulence - will hopefully be able to tell it for a long time to come.

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Alexander Haldemann is CEO of Publicis Groupe Switzerland.

 

This article first appeared in the m&k print edition 8-9/2024.

L X569, Friday, June 21, 2:50 p.m., from Nice to Zurich. This flight, which is taking me home from the Cannes Lions, is another highlight.

Not because large segments of Switzerland’s agency elite, marketing executives from major corporations, and even the occasional celebrity—including a well-known German rapper, whom I, as someone who’s somewhat in the know, was able to spot—were on board. Everyone was too tired for good conversations. Instead, we were caught off guard by unusually severe turbulence. And that, in a way, is symbolic of the 2024 Cannes Lions …

Anyone who's going through a rough patch right now

For me, Cannes is a good barometer of who’s currently calling the shots in the industry. I don’t measure that by counting how many Lions each person took home. Creativity is only a superficial focus at the Cannes Creative Lions these days anyway. The exciting thing is that Cannes offers a clear view of where advertising money is flowing. It’s a barometer of who’s currently setting the tone. And things here are just as turbulent as they were on my flight. Some players are getting shaken up pretty badly right now.

«What exactly are the Lions these days—a creative festival, a backdrop for the platform players» show, or a colorful circus?"

Agencies were once the undisputed top dogs on the beach in Cannes; then came the media networks, followed a little later by the major tech players. Now the balance of power is shifting further—toward social media platforms like TikTok, Spotify, and Snapchat. And to understand their influence, all you have to do is walk through Cannes with your eyes open. The largest pavilions, the most impressive boats, and the best hotels are all booked by them.

The New Kings

The recipe for success is as simple as it is effective: reach and algorithms to ensure they always show their users the right content. And this content doesn’t come from the big agencies and their creative departments, but from influencers with millions of followers. These «creators» have now become the true kings—and queens—of the festival. So in Cannes, the platforms are now holding court—with all the pomp and circumstance that entails. My impression is that they’re using the Lions less to generate new business and more, above all, to keep their entourage—the many creators—happy.

«It's becoming pretty clear who will dominate advertising in the future and make the most money from it. Meanwhile, those who refuse to face this reality are celebrating at the palace.»

What the overly flashy incentive trips for the most successful insurance salespeople were in the 1990s, the TikTok party at the «Carlton» is in 2024. The difference: Instead of new policies sold, today it’s all about the number of followers—if you have fewer than five million, you’re worth nothing. The trip to Cannes is a badge of honor for the best content creators—and at the same time serves as a backdrop for new content.

Nowhere else is the symbiotic relationship between creators and platforms as evident as in Cannes. They depend on each other—because even the smallest change to the algorithm can quickly turn them into kings without a kingdom.

And here’s another thing that stands out: In terms of age, the Creators are also much closer to their target audience than most creatives at agencies. Anyone who thinks a 17-year-old who wins the European Soccer Championship with his team is “young” should take a look around the platform parties in Cannes. Quite a few of them, at just 16, already have a better grasp of the business than many an agency boss.

Cannes Can Be a Circus, Too

In any case, the creators gratefully accept the offer—and turn Cannes into the circus it always wanted to be. This occasionally leads to amusing showdowns between the old and the new worlds. Cannes has always had a high concentration of celebrities, but now they have to compete with the new kings for attention. While Ronaldo answers a host’s flattering questions at FIFA Beach—«the fat, old one, not the handsome one,» as a colleague simplifies it—a little further away, Jason and Travis Kelce—the two NFL superstar brothers—are recording their podcast. And the question of whether Taylor Swift—who’s dating Travis—is also in town quickly becomes the number-one small-talk starter at many parties.

The festival is craving big names—but for now, the Main Stages feature people like Jay Shetty and MrBeast. «Who are they, anyway?» you’re probably thinking. Jay Shetty, 36, a former monk and life-coaching podcaster, and MrBeast, 26, the biggest YouTuber with 300 million subscribers, are the absolute heavyweights among creators. They exemplify how the big business of the «new world» works. MrBeast now manages his appearances in Cannes exclusively through his own production company. Branding, attention, production—everything operates outside the established value chain. And yes: The recent allegations that not everything in his videos is as real as he claims show that creators, too, are caught in a difficult balancing act between credibility and commercialism.

But still, the conclusion for corporations and their advertising budgets is quite clear: What significance do large-scale campaigns—which are honored with great pomp at the Palais—still hold in a world characterized by hyper-relevance in small doses? Some will be pondering this for a long time to come. «It’s a cruel summer,» one might call after them, in the words of Travis Kelce’s girlfriend.

No Longer Laughed At: Gen AI

And if you’re thinking that everyone was just talking about Taylor Swift—you’re wrong. One topic that really came up time and again—whether early or late in the evening, whether after one or three glasses of rosé—was Gen AI. The range of opinions on the subject in Cannes remains impressive. For some, it spells the end of agencies; for others, it’s a nice attempt by tech giants to quickly blow the hot air out of the metaverse and into a new hype. And many take a more pragmatic view: «Yeah, it does help a little.»

My take: Previous attempts to create meaningful use cases for Gen AI were hardly worth taking seriously. Most of the time, the results looked as if a university «prompting» club had spent an afternoon playing around with Dall-E and the like. The focus was on creating a quick “wow” effect, but not on how the technology can truly transform the industry with all its complex processes and structures. This year’s Cannes Festival has now convinced me otherwise—and offered a glimpse into a future that’s actually quite impressive. It wasn’t a single “wow” demo that fascinated me, but rather the individual pieces of the puzzle that I saw.

Here’s a brief overview of what this future might look like. A series of AI bots control various LLMs, retrieve information, build assets independently, and thus manage the entire campaign process—from market research to strategy to creation—autonomously. Data is drawn from numerous public sources—as well as, increasingly, from connected internal sources. Strategies are based on historical experience and current market trends. Assets are A/B-tested in real time. And all of this happens without any human intervention and at breathtaking speed—while the project lead at the agency is just setting up the first meetings, the AI has already completed the campaign. This piques the curiosity of many of my clients—can this really be true? The efficiency may be impressive—but what about creativity? Will AI replace everything—or will it always just contribute part of the solution?

This new world has little in common with today’s. Whether it’s our workforce structure, product catalogs, or daily customer interactions—we’ll all have to rethink things. This will lead to significant turbulence. It’s a good idea to tighten our seatbelts a little now.

The Search for Meaning Continues

And that brings me back to my flight from Cannes to Zurich. When I’m back on the plane after five exhausting days, the «question of meaning» inevitably comes to mind. What exactly are the Lions these days—a creative festival, a stage for the platform players to put on a show, or a colorful circus? Why was I there? If it were just one of those things, I wouldn’t go. For me, Cannes is more like the modern—albeit smaller—sister of the WEF in Davos. Nowhere else can I find so many relevant platforms, ecosystem partners, and content all in one place. An agenda for my client visits practically writes itself.

And: Cannes offers an unfiltered glimpse into the future. No one hides their ambitions here—it becomes pretty clear who will dominate advertising in the future and make the most money from it. Meanwhile, those who refuse to acknowledge this fact are celebrating at the Palais. For me, the annual «Cannes Check» is a good barometer of change in the industry.

Let's see how eventful next year turns out to be.

Ascential Acquires Effie

The Cannes Lions International Festival of Creativity is the world’s most renowned event in the advertising industry. Inspired by the Cannes International Film Festival, it was founded more than half a century ago. In July 2024, Ascential—the London Stock Exchange-listed company that organizes Cannes Lions—took over global Effie operations. A corresponding agreement was signed between Ascential and the New York-based nonprofit organization Effie Worldwide.

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The author, Benjamin Tück, is the Industry & Strategy Lead at Accenture Song.

This article first appeared in the m&k print edition 8-9/2024.

m&k: Alexander Haldemann, do you still remember the Conversation we had three and a half years ago when you took up your post as CEO of Publicis Groupe Switzerland?

Dr. Alexander Haldemann: Yes - we were sitting on Lake Zurich, not far from our offices here at Bellevue, freezing. I guess the outside temperature was about thirty degrees lower than it is today (laughs).

 

That's right. You told me back then that you didn't want to be an "announcement world champion" - you wanted to be measured by results. So let's talk about results now: Where will Publicis Groupe Switzerland be in the late summer of 2024?

It's great that we're starting with such a simple - and short - question (laughs). No, seriously, you guessed it: I have to expand on that. Before our meeting today, I was thinking about the past three and a half years; about the goals we have set ourselves and the milestones our team has achieved. There are overarching issues that we have tackled and there are very specific projects, Hirings or acquisitions that we have been able to make - should we look at these separately so that we don't get confused?

 

I always welcome proactive thinking during interviews, so: Yes, gladly!

The overarching topics certainly include the changes in our culture, the resulting creation of greater synergies and then also the opening up of our company in practical terms - i.e. in terms of the working environment - and also beyond language and international thought barriers.

"Two things are particularly important for our culture: trust and entrepreneurship."

 

Let's break it down: It starts with culture, right?

Yes, absolutely. Two things are particularly important for our culture: trust and entrepreneurship. Trust is important because we focus on what we have in common and deliberately do not pursue a "top-down policy", but work together as equals. Entrepreneurship means that we allow ourselves to be measured by the results mentioned above. To do this, our agencies must have the freedom to act entrepreneurially and set their own goals. At the same time, we know that we are stronger together. If we trust each other, then we want to work together. Then our claim "Power of One" is more than just a nice headline. The working environment here at Stadelhoferstrasse 25 illustrates this: people meet, people get together spontaneously. Customers, partners and guests drop by to chat - and then stay longer. Everything is in flux. And that's how it should be.

 

You also mentioned overcoming language and international thinking barriers. What do you mean by that?

This is a very important topic. On the one hand, we have two locations in Switzerland: Zurich and Lausanne. We have a great team in Lausanne with almost 80 colleagues from 24 countries. I like that. At the same time, I keep noticing how differently the advertising market works in French-speaking Switzerland. Since this year, we have established a management team for the whole of Switzerland - the joint organization is starting to bear fruit. It's great to see how we are overcoming cultural divides, how the teams are working together and how we are learning from each other. It's fun and creates real benefits for our customers. And then there are the international thought barriers ... Switzerland is sometimes very "Swiss", don't you think?

"It's nice to see how we overcome divides (...) and learn from each other."

 

That depends on how you define the term.

I think our industry - and I explicitly include us in this - has made itself quite comfortable within its "own four walls". I don't want to criticize anyone for this, it's just something that strikes me. Especially when you travel to Asia or the USA and meet people who have an international perspective, you realize that "cutting edge" ideas are currently not primarily being developed in Zurich, but in San Francisco, Seoul or Beijing. I find this status quo unsatisfactory. I am concerned with how we can bring exceptional, excellent brand work, I mean the real "top of the top", to Switzerland.

 

And what is your answer?

As Publicis Groupe, we have an advantage because we are present in all hot spots and therefore have direct access to trends, best practices and, ultimately, talent. We therefore need to consciously leave our comfortable four walls much more often and tap into the global creative potential of our Group. To do this, we need people who think outside the box and enjoy engaging in discourse across cultural boundaries. Again, this requires the aforementioned trust. And this is also the common thread behind the various personnel changes we have recently made. To give a concrete example, we were able to recruit Jason Romeyko as global ECD for our client UBS - with over 500 awards, he is one of the most frequently honored creatives in recent history. Romeyko is Australian, has worked almost everywhere in the world and speaks seven languages. He is an enrichment for Publicis Groupe, but probably also for the entire Swiss creative scene.

"'Cutting edge' ideas are currently not primarily being developed in Zurich, but in San Francisco, Seoul or Beijing."

 

Hand on heart: are all these changes, adjustments and conversions already having a positive impact on the figures? Or are you currently adding to them in terms of investments?

In parallel to all the things I have described to you, we have worked hard on our economic success - on growth and profitability. This is where the economist in me comes through, because I am convinced that change and economic success must go hand in hand. One strengthens the other and vice versa. In short, we have grown year on year over the last three years - organically, not including acquisitions.

 

You joined Publicis Groupe from MetaDesign after you had completed the integration of the agency. You are still the global chairman of MetaDesign and worked there for more than a decade before your time at Publicis. How do your jobs at the two companies differ?

At MetaDesign - just like today at Publicis Groupe - I have always seen myself as an entrepreneur in a creative company. Nothing has changed in that respect. The difference is that we had a manageable size at MetaDesign - six locations and around 300 employees. At the same time, the context was very focused. MetaDesign develops brands - we are world class at this, but we deliberately don't go any further. At Publicis Groupe, I am integrated into structures that are much larger - this creates new, global opportunities. What I like about my current role is that we have the entire range of communication tools at our disposal: from brand management to communication, media, production, data and technology. Bringing the disciplines together to form a larger whole is appealing. Communication has become complex for our customers. We have the opportunity to solve this. That's a nice challenge. But again - at its core, the work is the same: I want the team and the customers to have fun and for us to make things happen together - then I'm happy.

"I am convinced that change and economic success go hand in hand."

 

Publicis Groupe Switzerland is the largest communications group in Switzerland. Does this give you a "claim to leadership" - and if so, how will you assert it?

"Claim to leadership" sounds like a kind of ... yes, I would say brashness, which is not our style. At the same time, I understand what you mean. A leading position in the market is also associated with the expectation of setting trends in the industry and beyond. Over the past few years, we have been working intensively on what our aspirations are - and how we want to develop further with our customers in mind. The future belongs to those who keep positioning themselves correctly for the future. I am convinced of that. In order to achieve this goal, we have taken a great deal into our own hands over the past year - not to say turned it on its head. Culture, organization, brand portfolio, talent, managers - in fact, we have initiated a real upheaval. Now comes the phase of new beginnings. And this will ... it must be characterized by speed, courage and momentum.

 

Will this "claim to leadership" - mea culpa, I'll just stick with the term - help you to attract new talent?

Successful agencies recruit non-stop. New talent is a prerequisite for further development. We currently have 15 vacancies in Switzerland. I believe that the size of our Group is not in itself an argument for working with us. However, I can also see that we are on the right track when it comes to recruiting and promoting young talent. I suspect this has a lot to do with the changed culture in the company: I see that trainees and younger colleagues spend a lot of time here, even though they could be working from home. I see how they learn from their experienced colleagues and how they pass on their knowledge. Take Bagels of Berkeley, for example, our social agency, which has developed really well over the past two years. These are all young colleagues who have fun - and aren't afraid to take on responsibility. It is precisely this spirit that should make us attractive to talented people. But this has to grow step by step - there are no quick shortcuts.

 

But a certain modesty is sometimes good for the Group, isn't it? You got a lot of respect for the way you said goodbye to your major client Swiss - after you lost a pitch and their mandate. You even congratulated the pitch winners from thjnk! To my recollection, this kind of behavior is unprecedented in the industry.

Let's be clear about this: The loss of Swiss has hurt a lot. As an agency, we worked really well with our colleagues at Swiss for almost 15 years and achieved a lot together. It was also painful for me personally. I travel a lot - both professionally and privately. Swiss was and still is "my" airline. I now have to deal with the fact that communication is in the hands of another agency. I'm learning to live with it (laughs). Nevertheless, everyone always talks about the successful "onboarding" of customers, but here I am particularly proud of our "offboarding".

"Let's be clear about this: The loss of Swiss has hurt a lot."

 

Why are "stylish offboardings" such a rarity?

Rivalry between agencies is a big issue - and if you let it get too big, the frustration of losing a pitch is sometimes so strong that you don't want to talk to either the - then former - clients or the market competitors who have prevailed. Of course, if you work in our industry and are not competitive at all, then you also have a problem. But I would like to see a sporty, competitive attitude where you can pull yourself together every now and then and say: "Yes, this is crap, but we did our best. Let's try again." You can't always win - and you can't put up imaginary walls out of fear of your competitors. What's more, false ambition eats away at you at some point and turns inwards. This damages the quality of your work and, above all, yourself.

 

Since you yourself have initiated a discussion "beyond Switzerland", let's talk about the current success of Publicis Groupe: shortly before our interview, your global CEO, Arthur Sadoun, presented excellent quarterly figures - Publicis' own forecast even had to be revised upwards. Where does this momentum come from?

I'm not objective - although I haven't been involved in the global management of our Group for that long, I already feel very close to Publicis. So everything I say is far less unbiased than what external analysts would tell you. After this disclaimer, however, I am happy to give you my assessment: I think the strategy we are pursuing is absolutely right. First and foremost are the customers. I have rarely come across a global company that so consistently reflects the claim of being close to its customers in the organization and exemplifies this attitude at all levels. At the same time, we work with a good balance: Paris doesn't impose anything on us in the markets that doesn't suit us - but sets the direction in which we all go. Furthermore, we made huge investments in technology, AI and data-driven communication very early on, which our market competitors either don't want to make ... or can't make. This bet on the future gives us an advantage today.

"Now we can talk about what we've done - and talk about what's to come."

 

"Being close to the client" sounds quite ... promotional, if we're honest. How does it become more than, forgive me, an empty phrase?

Through empathy. By listening carefully to our customers, understanding their market and the competition and really understanding how we can move the brand forward. I don't want us to pitch for brands that our teams aren't passionate about - we probably won't win the pitches anyway, and if we do, it will be a pain for everyone involved. With genuine enthusiasm for the brand, for its challenges, also comes the "feeling of involvement": We rejoice with the customers, we suffer with the customers.

 

Do you look after large customers personally?

"Supporting" is a strong word - I would be doing my colleagues an injustice if I were to say that across the board. However, I am very happy to get involved when I can make a contribution. On the one hand, these are clients with whom I have been working for a long time or where I can contribute my specific experience - topics such as brand positioning, portfolio management or mergers & acquisitions. I like to work "hands-on" and solve specific tasks. This also gives me the opportunity to keep an eye on the reality of our customers. Of course, you would now have to ask the clients whether I live up to this claim (laughs).

 

Let's summarize once again - introduced by your own quote from earlier: The phase of upheaval is over, now comes the phase of new beginnings. What will it look like?

You're forcing me to become "announcement world champion" after all! But fine - for once: In my mind, we are showing greatness in the phase of new beginnings, and in more ways than one. We are demonstrating what the "Power of One" can achieve for our customers through the frictionless interaction of our agencies. To do this, we use the global clout of our organization, the power of the entire Publicis Group. We have the people we want in the key positions, with a view that transcends cultural and linguistic boundaries. We will realize strong work - work that breaks new ground in marketing transformation and where I am also pleased when one or the other in the industry says: "I wouldn't have thought you could do that!" Finally, as we began our conversation, we are succeeding in further strengthening our culture. We are creating an environment that is based on trust, promotes entrepreneurship and encourages the spirit of our young talent. I know that I have turned down some interviews with you because ...

 

... for personal reasons (laughs)?

... no, because we still had too many things directly ahead of us - and you always persistently ask about our future. The upheaval was not yet complete and we had to concentrate on the tasks ahead. But now we can tell you about the things we have done - and talk about the things that are still to come. The foundations have been laid. Now we are building on it.

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Dr. Alexander Haldemann is CEO of Publicis Groupe Switzerland. Prior to that, he was CEO and owner of the branding agency MetaDesign in Switzerland and the USA. Dr. Haldemann is a lecturer at the University of St. Gallen (HSG).

 

This article first appeared in the m&k print edition 8-9/2024.

m&k: Over the years, hundreds of thousands of people have come into contact with Edward de Bono’s work, read articles about this polymath, or seen reports about him. You, however, knew him personally for more than a decade and are now publishing his biography, *Edward de Bono: Love Laterally*. How did you two meet?

Sarah Tucker: We met by chance on New Year’s Eve 2012 at a party at the Corinthia Palace Hotel in Malta, which used to be his family’s estate. I mentioned that I was a fan of his book *Six Thinking Hats*, and that was the basis for our first conversation. We exchanged phone numbers, but I didn’t think I’d ever hear from him again—until I received a call in January 2013, when a voice on the other end said quite nonchalantly, «Hi, it’s Edward!» If he’d been younger, he probably would have tried to ask me out on a date (laughs). Women were his Achilles« heel, but we clicked intellectually right away, and that was the beginning of our friendship. A »professional« friendship, you might say, since I interviewed him repeatedly for newspapers and television… but we also talked about personal matters and met between 25 and 30 times in the years leading up to his death. He even visited me in France, where my family has a summer house, and I showed him around the region. He was thrilled, even though he always had to emphasize that it was much more beautiful in Australia—his favorite country—and, of course, in »his« Malta. At some point, I had an epiphany: There are all these people out there who work with his methods; there are dozens of books by and about Edward… but no biography that truly captures his warmth, brilliance, and complexity. So… I have to write it (laughs)!

«(…) There are dozens of books by and about Edward … but no biography that truly captures his warmth, brilliance, and complexity.»

 

… that’s what you did, and now you’ll be presenting the work on September 3 at the British House of Lords in London. I read that de Bono was fascinated by the aristocracy—so that’s a fitting venue, isn’t it?

I'm sure he would have liked it; otherwise, I wouldn't be doing it (laughs)! This won’t be a typical book presentation, though—you’re not allowed to do that sort of thing in the House of Lords—but rather an exchange, a discussion about de Bono, prompted by the publication of *Love Laterally*. Baroness Helena Kennedy wrote the foreword to the book, since she frequently applies Edward’s ideas in her own work, so that makes sense. And… as for de Bono’s fascination with the aristocracy: You’re right about that, but I’d like to offer a more nuanced perspective.

 

You're welcome.

Edward had some connections to the British aristocracy, including the Mountbatten family, primarily through mutual acquaintances. He also had some interaction with Prince Philip, but I think Edward was more concerned with … maintaining those connections than with being fascinated by the people involved. You could say he cultivated his network. It’s important to distinguish between those Edward wanted to impress—those he wanted to let know when he’d written another book—and those who truly impressed him. For example, he admired the educational psychologist Howard Gardner far more than any figure from the aristocracy. Edward may have greatly appreciated some aspects of Prince Philip’s work, particularly the initiatives that were less in the public eye … such as his commitment to the Duke of Edinburgh’s Award or his efforts toward environmental protection, which King Charles is now continuing. He valued meaningful contributions and substantial achievements far more than titles and the supposed popularity of the person he was dealing with. On the other hand, we must give credit where credit is due: Edward would likely have liked to have been knighted, and at times he expressed his… dissatisfaction that he had not received this «official recognition.» As you can see—he was a thoroughly complex character. (laughs)!

 

The same goes for his work, right? Edward de Bono has been «in vogue» for many years, primarily because of two ideas: the concept of the «six thinking hats,» which is often used by management trainers, and the concept of «lateral thinking,» which is frequently cited by «creatives.» But that’s only a fraction of his work, isn’t it?

Exactly—and both are often oversimplified. «Lateral thinking» is frequently interpreted as «creative thinking,» but it is far more than that. Edward described it as a change in the pattern system within the brain’s self-organizing structures. That might sound a bit technical, which is why he coined the term «lateral thinking»—a term that eventually even found its way into dictionaries.

 

Can you decode it for us?

«Lateral thinking» refers to the fact that we humans tend to follow established patterns in our thinking—even when doing so doesn’t lead us to our goal, that is, to the solution to a problem. Edward urges us to recognize this and to «challenge» our individual thought patterns over and over again. To help people do this, he developed tools and games that make this «challenging» process both structured and entertaining. He mostly tested his ideas with his two sons, Casper and Charlie—playing with them as if he were a child himself. For Edward, one thing was clear: if what he advocates isn’t fun, then it won’t work.

 

I remember an interview with the designer Sir Paul Smith, in which he quoted Edward de Bono and praised his «childlike, not childish» approach. Sir Paul said that he himself tries to act in a similar way.

I can easily imagine what he meant. Take, for example, the «L-Game» that Edward invented—it’s like chess, but with only four pieces, so you can play it anywhere, even on a plane or during a car ride. You don’t need to know many rules, but it really gets your brain going … while having fun at the same time! It also has a competitive edge, which de Bono really liked. The L-Game is a way to be «playfully provocative.».

«»Lateral thinking’ is often interpreted as ‘creative thinking,’ but it is much more than that.”

 

It's interesting that you use the word «provocative»—because I came across it often while researching de Bono. In your view, was he a provocateur?

At the very least, he wasn’t a diplomat (laughs). He didn’t sugarcoat anything, openly challenged egos and power, and always spoke his mind. It’s important to note that Edward wasn’t driven by the typical motivations—money, power, or status—that often attract others to positions of influence. His attitude toward money was pragmatic, even if the media liked to portray it differently during his lifetime—he saw it as a means to an end, nothing more. Women and sex were a much stronger driving force for him… he was, after all, a bon vivant. In general, however, he acted and thought very independently, and that was reflected in the way he interacted with those around him. He wouldn’t let anyone take him for a fool. If someone tried to oversimplify his complex theories and somehow seemed… immune to Edwards«—usually very patient—explanations, he could get very, very annoyed. And he didn’t trust the media very much, especially during the years when he was at the height of his fame. He felt that many journalists were only interested in headlines, but not in the »true story.” Sometimes, if you ask me, he went a little overboard with that bias. On the other hand, when journalists ask me about de Bono today, the first thing they always want to know is whether we had an affair (laughs).

«Unlike artificial intelligence, which is limited by the imagination of its creators, our brains work »without limits.’”

 

They say he wasn't a diplomat—but he was a citizen of the world, wasn't he?

Yes. The Maltese would proudly call him «one of their own,» but although he loved his homeland, Edward thought globally—long before the Internet and the ultimate interconnectedness of the world that exists today. In fact, he was someone who had no use for boundaries. He understood the immense potential of the human brain—how powerful, even frightening, it can be when you realize just what is possible. Unlike artificial intelligence, which is limited by the imagination of its creators, our brains operate «without limits.» Incidentally, this is also why he wrote *Six Value Medals*: You can teach someone to think laterally, but if that person has dishonest motives, de Bono’s school of thought can be misused. He wanted to… at least curb that.

 

He also wanted to see his theories—and the accompanying set of values—integrated into the British school curriculum; he even spoke with then-Prime Minister Tony Blair about it. Even though that ultimately didn’t happen—why was it so important to de Bono?

He was firmly convinced that without «critical thinking» instruction in schools, children and adolescents would be more susceptible to various ideologies—and he doubted that even great philosophers such as Aristotle, Socrates, or Plato could provide the necessary tools to counteract this. He viewed their teachings—Aristotle’s emphasis on categories, Socrates‘ argumentative approach of ‘I’m right, you’re wrong,« and Plato’s belief in an absolute truth—as outdated. »Truth is perception in the moment,« he said—and he considered the era of Greek philosophy to be a thing of the past.

 

That probably didn't win him many friends at the universities …

Nevertheless, he argued that life continues to evolve, and that this also applies to our thinking. He feared that if we do not teach children how to think (as opposed to what to think), they will become increasingly susceptible to manipulation, especially as advertising and political messages become ever more sophisticated. He criticized the traditional focus of school curricula on subjects like English and math, which, in his view, limited thinking: grammar and arithmetic rules would lead to linear thinking becoming the «gold standard» …

 

… and he didn't like that.

No. He would have liked to see students engage more with art—because he was convinced that, for example, a discussion about a painting leaves much more room for arguments and intellectual debate than the question «What is two plus two?» He devoted an entire book—bearing the same title—to questions that elicit only «I’m right, you’re wrong» answers. Along with *Serious Creativity*, *Six Value Medals*, *The Happiness Purpose*, and *Future Positive*, it’s one of my personal favorites. But among the 66 works he wrote over the course of his long life, there’s actually something for everyone (laughs). If you want to read his «dissertation,» I recommend «The Mechanism of Mind»; later works like «Why I Want to Be King of Australia» and «The Happiness Purpose» are more like workshop guides that make his ideas accessible.

«Edward would have liked to see students given more opportunities to engage with art.»

 

What should people learn about Edward de Bono when they read your biography, *Love Laterally*?

As I said at the beginning: He was warm-hearted, brilliant, and multifaceted. He was extremely generous, not only when it came to explaining his thoughts, but also with his—often very limited—time. He was charmingly eccentric: In his later years, Edward would eat breakfast three times a day, drinking vast amounts of chamomile tea, which he believed was «good for the brain.» He would sit on my porch, and we’d talk for hours; I remember the mischievous twinkle in his eyes whenever I’d say, «You seem very calm today, very ‚Zen.‘» I knew he didn’t like that «box,» and he knew I liked to tease him about it. «Whatever you’re accusing me of, that’s not who I am!» he grumbled back. And he got back at me with backhanded compliments like, «Oh, you’re finally thinking freely! Just a little bit, but at least it’s a start!» (laughs). I hope that people reading my book will see the man beyond the popular theories—and I try to shed light on the profound system of thought that gave rise to these theories in the first place. As you know, Edward de Bono was nominated for the Nobel Prize in 2005 but ultimately didn’t win it. He deserves so much more recognition—and he’ll get it once he’s truly understood.

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Sarah Tucker is a multi-award-winning British journalist and bestselling author. Her work often focuses on her travels around the world and the impressions she gathers along the way. For her latest book, *Love Laterally*, she delved deeply into the life and work of Edward de Bono—she met regularly with the Maltese polymath until his death in 2021 and was close friends with him.

«Love Laterally» is the official biography of Edward de Bono. The book was published by Aurora Metro / Supernova Books in early September 2024 and is available online and through bookstores.

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This article first appeared in the m&k print edition 8-9/2024.

m&k Aissu, at just 31 years old, you’ve already built an impressive career: You’re the Executive Director of Digital Excellence at the Butter agency. in Düsseldorf, Chairwoman of the GWA Young Board—and you give talks throughout Germany, participate in panels, and advocate for the next generation in the industry as well as for equality issues. To put it metaphorically: How did you make it onto the fast track?

Aissu Diallo (laughs) That certainly wasn’t the plan! I don’t come from a family of college graduates. My mom had five siblings and was the only one of them who even graduated from middle school. Of course, that doesn’t say anything about a person—I just want to point out that access to education wasn’t something I was born with. On top of that, money was pretty tight for us for a long time. As a trained early childhood educator, my mother worked her way up to become the director of a youth center, but unfortunately, jobs like that don’t pay very well. On top of that, she was a single parent until I was seven years old. Still, she always did everything she could to make sure I had a great childhood. The circumstances I’ve described simply shaped me from a very early age. My mother had to work full-time and couldn’t afford childcare every afternoon. That’s why she often took me with her to the youth center. I ended up joining the dance group, the music group, the media group… and there I met all kinds of different people and learned to adapt quickly to new people and new situations. To stand up for myself. And at some point, I also realized: I want to learn, I’m curious, and I’m eager to expand my knowledge. That’s why I was able to make the leap to a high school later on.

«So I walked into the boardroom, plugged in my phone, and just talked for an hour.»

 

And after graduating from high school, did you go straight into the communications industry?

I definitely wanted to get out of the small town where we lived. It felt too confining to me—not just as a Black person who always stood out a bit from the crowd, but also because of the mindset there. Originally, I wanted to study music. I basically spent my entire youth at music school and, among other things, played the recorder competitively (laughs)—I know that sounds made up, but it’s true—you can look it up! I was even part of the state support program for music students and had a state-subsidized education that included piano and voice lessons in addition to theory and ear training. That’s why I wanted to be a singer for a long time, but after trying it out for a while—including singing backup—I realized that the career path was too uncertain for me. And because of my childhood, I just have a certain need for financial security. Luckily, I also found Samantha’s job from «Sex and the City» very appealing (laughs), so I studied media and communication sciences at the University of Hamburg and, while working on my bachelor’s thesis, landed an internship at Warner Music, one of the world’s three largest major labels.

 

And that’s when—if I look at your resume—you really took off for the first time: You started as a CRM intern in 2015, and just one year later… you were in charge of setting up the entire social media department!

The social media position you mentioned had been open for a while, and as a CRM intern, I’d always been doing a little bit of social media work «on the side.» At some point, my boss at the time asked me if I could explain to «a few people» how all the channels work and what you actually do there. So I walked into the boardroom, plugged in my phone, and just talked for an hour. It turned out that I was sitting in front of the entire board, including the head of Warner Music Germany, and not only did the content go over well, but my laid-back manner was a big hit, too. I was then encouraged to apply for the position and actually managed to beat out all the external candidates. Fortunately, I’ve managed to keep that nonchalance over the years. (laughs)

«I've learned to adapt quickly to new people and new situations.»

 

And after that, I moved from the corporate side to the consulting and agency side: a stint at Deloitte Digital, then a little over three years at Elbkind Reply—where I was already Head of Client Success— followed by a role on the executive board at DDB Germany and, for just under a year and a half now, the position mentioned at the beginning as Executive Director of Digital Excellence at Butter. Wow.

When you list it all out like that, it really sounds like the fast track (laughs)—but that also comes with its own set of challenges.

 

Because it involves an enormous amount of work?

Especially because «ageism» can be an issue even for young people. The position at DDB—I had just turned 29—was the first one that really came with increased «visibility» in the industry, I’d say. The trade press covered the story, my photo was published, and then the questions came: Can such a young woman handle this? Did she maybe only get the job because they absolutely wanted a woman on the board—is she even competent? Of course, no one says that to your face, but you can often sense it between the lines. And sometimes you can tell just by looking at people when you walk into a room. Fortunately, that usually went away after my first two sentences, and the people I worked directly with never doubted my qualifications. So sooner or later, it was always clear: the «young woman» knows what she’s doing.

 

During our initial conversation, you told me that before you moved from DDB to Butter., you received many inquiries from agencies—and with some of them, you got the feeling that they wanted to position themselves as «more diverse,» but that they didn’t really care what you did or were capable of. What was that like for you?

That’s funny. Really funny. «Representation matters»—I’m 100 percent convinced of that, and I think it’s incredibly important that women—especially Black women—are visible in our industry and in the economy as a whole. That’s why I take part in so many panels, give interviews, and host events… all of that takes a lot out of me—the travel, the nights in hotels… but I do it because I’m passionate about the message, about the cause. And yet I don’t want to work somewhere where I’m primarily the «diversity poster child»—because that wouldn’t be real representation; it would be fake. That would be… giving someone an alibi. Sure, public perception is super important for agencies—there’s no point beating around the bush about that. But that led to some absurd situations when I left DDB. I got calls, invitations, and when I met with people, they’d say, «Why don’t you join us?» When I asked what position I’d be taking on and what my responsibilities would be, the answer was: «Oh, we’ll figure that out later!» Or they’d offer me five different jobs and tell me to just pick one. I didn’t get the feeling that I was of interest because of my skills, but mainly because I possess characteristics associated with diversity that could generate positive publicity. In some cases, the people I spoke with didn’t even have a clue what kind of jobs I’d done before; they hadn’t even read my resume.

 

But at Butter., everything turned out just right.

Yes. Because we’d been in touch for quite some time before I signed the contract; because the people and the vision for the agency’s development were a perfect fit. I get to lead an interdisciplinary team; we tackle so many exciting topics—I can think about strategic issues, then move on to social media, then to creative work, then to AI. And I have the freedom to continue focusing on the issues close to my heart that I just mentioned; to bring my voice into the conversation.

«At many of these tables, you feel like an intruder who has forcibly taken a seat.»

 

Two years ago, I interviewed Bozoma Saint John—the former head of marketing at Netflix, whom you—as I discovered while doing my research—describe as an inspiration. She told me she had to break through many «glass ceilings» to advance her career—and that leaves scars, despite the success. Can you relate to that statement?

I understand that, but first of all, that was an earlier generation, and second, I wouldn’t say of myself that I had to force my way into areas where people didn’t really want me. I had to work my way up, but I didn’t have to… seize my place. (laughs) I feel like I’ve always found gaps in those infamous «glass ceilings» that I could climb through—or that I’ve opened doors that weren’t there before, that others might not have seen. But of course, it could be that—even though I «rose quickly through the ranks»—I was held back by my skin color and gender. I don’t know where I’d be today if I were a young white man. I don’t want to speculate about that either, because it leads nowhere.

 

We just touched briefly on representation and visibility. It’s no secret that the communications industry—especially within agencies—has long been male-dominated. Do women now have their «seat at the table»?

That’s a really interesting question. I spend a lot of time thinking about this mysterious table. You know, it’s totally fine for men to make deals with each other and support one another… I don’t begrudge them that. But the way it’s done doesn’t necessarily make it a table where we women want to sit, in my view. At many of these tables, you feel like an intruder who’s forcibly grabbed a chair and squeezed in between two others. There’s often an underlying «Everything was better in the old days» vibe. That’s why I’m working on a new table. Or two.

 

I'm looking forward to reading the description.

First, one where, for a while, only women in the industry can come together to exchange ideas, help one another, and be there for each other—authentically and without an agenda. A place where concerns are shared and feelings are expressed. There’s a real need to catch up here, because many successful women are so focused on fighting—having had to fight so hard for their positions themselves—that they’re simply not able to be true mentors. They instinctively want to protect what they have from others—unfortunately, even from other women. Men throw each other a rope; women pull the rope up behind them… not all of them, of course—there are so many wonderful counterexamples. But there aren’t enough of them yet.

 

And what kind of table comes next?

Then there’s someone who is completely free and completely open—someone at whose table anyone who identifies with certain values and ideals is welcome to take a seat. That would be the best-case scenario. But that still requires a … little bit of groundwork. Even though there are already men I would invite to that table right away.

 

When up-and-coming talents approach you—perhaps because of your role as Chairwoman of the GWA Young Board—and ask for advice, what do you tell them about their path into the industry?

Life stories and plans are so unique that I often find it hard to give advice—but I can try to share the principles that have guided me. I told you earlier that one of the reasons I didn’t become a professional musician was because it felt too financially unstable to me… which, in turn, has to do with the fact that we didn’t have much money when I was a child. It’s important to me to know that I’m «safe.» But even so, I’ve never chased after money alone. Some offers you get in this industry are very tempting—but you have to listen to your gut, and if it doesn’t feel right, then you shouldn’t do it. I don’t know of a single instance where anyone I know—myself included—has acted completely against their intuition and been happy about it afterward. «Stay true to yourself»—that’s perhaps a piece of advice I’d give to someone setting out on their journey. Even beyond everyday professional life. And I’d always look out for people who—even if they’re with the competition—are fair. Who keep it in good spirits. Because… if you let the competition and the pitches get to you, it’s bad for you and bad for the vibe in the entire industry.

«I realized: My superpower is being myself.»

 

I've actually heard that in several interviews I've conducted over the past few months—that thought leaders from agencies would like to see a more positive atmosphere return to the industry.

I totally get that. If the necessary competition gives rise to a fundamentally negative, distrustful atmosphere, then we’ll really have trouble attracting new talent, because hardly anyone wants to enter that kind of environment. There are a few agencies where I’m always happy to meet the teams—we can pitch against each other, but we can also congratulate each other when the other side wins. And at events, we spend time together, have fun, and exchange ideas. That’s much better than constantly firing shots in every direction, and it gives you strength—instead of draining it. In fact, the communications industry is one of the most amazing, inclusive places there is, and I want that to be brought back to the forefront. The days of photo shoots in South Africa and champagne-fueled parties are over—and maybe that’s for the best—but I don’t know of any other sector in the business world where you can meet so many cool, unconventional people all in one place as you can at an agency. There’s a huge variety of career paths; there are people switching careers, and the «misfits» not only have a place here but are celebrated for their individuality. I think that’s also why I feel so at home in this industry. As a young Black woman, you inevitably experience discrimination, and that can tempt you to feel like you have to conform at all costs. But I’ve realized: My superpower is being myself, being different, and… being not just accepted but valued for it. That’s the magic this industry brings, and we need to convey that again.

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Aissu Diallo is Executive Director of Digital Excellence at the Düsseldorf-based creative agency Butter. Previously, she held leadership roles at other agencies, worked in management consulting, and served on the client side. In addition to her professional work, she serves as Chairwoman of the GWA Young Board, supporting the next generation in the communications industry, and is Community Lead at the Ivy Female Collective, a boutique network for women.

 

This article first appeared in the m&k print edition 8-9/2024.

Making the world a better place is a huge task. On top of that, it’s quite a challenge for a digital agency to bring more meaning to the world. But that’s not what Theresa Gruhler is focused on at all. As COO at Sunzinet, which has offices in Germany, Austria, and Poland, she’s also responsible for workforce planning and knows how important it is in today’s job market to stand for a vision that goes beyond one’s own business model. And for good reason: «Wanting to make things better and shape the world are fundamental human needs,» she explains.

«Career or saving the climate? Generation Z tends to choose the former.»

The company has already taken a number of steps to provide a sense of purpose: from green servers powered by renewable energy and certified CO2 offsets to tree-planting initiatives. «But purpose is more than just positioning oneself as sustainably as possible,» says Gruhler. Their approach is for employees to work closely with customers on their business models. «The future doesn’t just mean—though it mostly does—digitalization. We help companies position themselves smartly in the digital world, thereby contributing to their future viability and success. That makes us proud and happy.»

An Open Culture as the Key

Marcus Merheim also sees such an open corporate culture as key to attracting employees. For the founder of the Hamburg-based HR consulting firm Hooman Employer Marketing and chair of the «Workplace of the Future» division at the German Digital Economy Association (BVDW) in Berlin, the search for meaning is also less about saving the world. For him, meaning lies in many small details. “The younger generation, in particular, doesn’t want to perform mindless tasks, such as creating Excel spreadsheets, without knowing why or for what purpose they’re doing it,” he observes.

«Making the world a better place is a huge task. On top of that, it's quite a challenge for a digital agency to bring more meaning to the world.»

To foster a sense of emotional connection among employees and help them see how they contribute to the company and society, Merheim recommends that employers develop their own values-based vision. As the labor market expert puts it: «Don’t say what you do; say why you do it.» So rather than presenting the company as one that, for example, produces steel cables, it’s better to say that its products save lives every day. «That has a much more emotional and charismatic quality to it,» Merheim says (see interview).

Career or saving the climate?

Even though employees today are looking for meaningful work, that is by no means the most important thing to them. A study by Randstad sums it up: «Career or saving the climate? Generation Z prefers the former.» According to the study, 36 percent of employees between the ages of 18 and 29 want to make a positive contribution to the environment through their work. But for 83 percent, material well-being simply comes first. Johanna Schaller, Senior Manager of Workforce Transformation at the consulting firm PwC Austria, isn’t surprised by this. «The economic crisis and rising cost of living have significantly increased the importance of a fair salary,» she observes.

Worries vs. Meaning

PwC recently conducted a global study in which the 55,000 employees surveyed—from various industries and generations—ranked salary as their top priority. «In Austria, 56 percent of the employees surveyed are experiencing financial stress because they are unable to set aside money for vacations, savings, or other expenses,» the manager explains. Because the pressure to perform is also constantly increasing, a growing sense of dissatisfaction is taking hold. As a result, one in four employees is currently considering changing jobs in the coming months—even more so than a few years ago. It’s no wonder that financial worries and rising demands are pushing a sense of purpose to the back burner. According to the study, it ranks second, followed by flexibility in third place.

For Johanna Schaller, salary and purpose sometimes go hand in hand. Take the issue of equal pay, for example: »Companies that are as open and transparent as possible about salary levels build trust among applicants and employees,» says the PwC manager. This is particularly true for women, who on average still earn a quarter less than men. However, this will soon come to an end in the EU: A Pay Transparency Directive, which is being transposed into national laws by member states, stipulates that by June 2026 at the latest, all EU member states must introduce transparency measures and pay all employees the same wage for equal and equivalent work. «Some employers are already specifying a salary range in their job postings,» Schaller observes. «In contrast, companies that have not yet offered salary transparency are becoming less attractive. The same goes for companies that do not allow flexible work arrangements.»

Those who are satisfied roll up their sleeves

If, on the other hand, all of the aforementioned «must-haves» are in place, then—according to the PwC study—employees are, in return, willing to take on a heavier workload to drive the company’s transformation. This applies both to the younger generations—Gen Z, Millennials, and Gen X—and to the older generation of Baby Boomers, who will soon be retiring. «In our survey in Austria, Boomers are the most eager to learn among all employees and are very curious about exploring technologies such as artificial intelligence,» says the PwC manager. And one other finding from the study surprised her: «For Boomers in Austria, finding meaning in their work is even more important than salary.»

Many stereotypes are unfounded

This shows that age doesn’t matter. «Many stereotypes just aren’t true,» says Theresa Gruhler. In her role as HR manager at the digital agency Sunzinet, she involves her employees through conversations or surveys when it comes to topics like hybrid work. Some employees prefer to work in the morning or late at night. Others—mothers or fathers—want particularly flexible work arrangements so they can balance their careers and family life. «Through a strong culture of trust and individualized solutions, we strive to understand each employee’s unique situation so we can be a reliable partner in the long term. This also has a positive impact on our client relationships and results,» says Gruhler. Benefits ranging from «workations»—where employees can work in another EU country for up to four weeks—to professional development opportunities are also part of the package. Last but not least, the agency provides a reason to look forward to getting out of bed every day. A purpose that doesn’t promise too much, but also not too little—it is: “We’re improving the digital world of tomorrow.”

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INTERVIEW

«Companies don't communicate with enough charisma.»

Marcus Merheim is the founder of the Hamburg-based HR consulting firm Hooman Employer Marketing and chair of the "Future of Work" division at the German Digital Economy Association (BVDW) in Berlin.

m&k: How important is "purpose" today when choosing a career?

Marcus Merheim: While employees used to tend to do what was asked of them, today they want to know why they are doing it. Meaningful work, self-fulfillment, and autonomy have thus come to the forefront. It is especially important to young people to make a contribution to society.

 

What does this mean for businesses?

In German-speaking countries, many companies still struggle with the concept of »purpose.» This is in stark contrast to the U.S. and Canada, where nearly every small business makes its purpose a central part of its identity. However, I definitely recommend that companies develop their own purpose to build trust, credibility, and integrity. To get to the bottom of their own meaningful reason for being, they can start by defining a vision. This is a bold, ambitious goal they set for themselves. For example: “We want to revolutionize the healthcare system.” That might not be easy to achieve, but it allows you to develop a strategy for working toward that goal. That, then, becomes the mission. The purpose is then derived from the vision and mission.

 

Which companies are actually setting a good example in this regard?

The Caritas Association in Meschede, in the Sauerland region, promotes the idea that working as a nurse allows you to make an important contribution to society by doing good for others. This approach has a much more emotional and charismatic quality to it. Even today, many career websites still fall short in this regard.

 

Is fulfilling work even more important than salary?

I think there’s definitely a trend toward pursuing fulfilling work rather than a job that pays better but lacks meaning. However, an employer—such as one that manufactures solar panels—mustn’t exploit this sense of purpose by underpaying its employees. Salary and benefits remain an important hygiene factor in staying motivated at work.

What comes to mind when you hear the word «sustainability»? Rising prices, rationality, change, a loss of trust, or even sacrifice? You’re not alone in having these associations. Over the past few years, our associations with the term “sustainability” and related concepts have been shaped. Politicians have drummed into us that we must make sacrifices for the climate, and for years, products like tofu sausages (my association: sawdust) haven’t been very convincing in terms of taste either.

For example, when I tell my partner that we’re having a vegan (and therefore sustainable) meal for dinner, the first reaction is often a slight grimace, followed by a mutter that it can’t possibly taste good. So he associates the word «vegan» with the word «sacrifice»—a sacrifice of quality and flavor. And who likes to make sacrifices?

Market research suggested otherwise

If we are to believe the market research surveys of recent years, we could come away with an optimistic outlook: People indicated that they are willing to forgo at least part of their consumption and are even willing to pay more for sustainable products. Based on this, more and more sustainable products were developed and often placed on store shelves at a premium price. But to be honest, these surveys have always made me a little skeptical: In my circle of friends and family, there were always people who really did cut back, but my own consumption habits were nowhere near as strict or consistent.

Then, this summer, my hunch was confirmed: In a survey, the *Süddeutsche Zeitung* found that just under 70 percent of Germans are not willing to give up their share of prosperity for the sake of climate protection.

Consumer needs are more important than the climate

So here it is, in black and white: People’s own consumption needs and standard of living are more important than the climate. That doesn’t come as a surprise to me; what did surprise me was the candor with which this was expressed in the survey. Conserving resources, however, is inevitable—yet people aren’t willing to make sacrifices. What can we do? For me, the golden age of marketing in the green transition has now begun: Marketing knows how to get the masses excited about something, to sweep them along, and to make sustainability sexy. So we need to move away from the association with sacrifice and toward a positive image.

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Prof. Dr. Johanna Gollnhofer She is an associate professor of marketing and one of the co-directors of the Institute for Marketing and Customer Insight at the University of St. Gallen (IMC-HSG). In our magazine, she writes monthly about exciting, sensational, or curious marketing studies from around the world. This month’s article is based on this study.

 

This article first appeared in the m&k print edition 8-9/2024.

From her office, Chantal Landis can look out over the lake, and she’s even gone for a swim during her lunch break. Located right on Seestrasse in Kilchberg, it’s just a stone’s throw from downtown Zurich, where the 45-year-old managing director of the IAA and her partner live with their four children.

The sun is shining through the window; Chantal is sitting at the conference table, and you can tell she feels comfortable in her own skin. This job isn’t just a job—it’s a labor of love. In the eight years she’s been running Chapter Switzerland, membership has grown significantly, as has the proportion of women. And there are now four women on the board—when Chantal took over, there was only one woman on the board. The international network of the 40 chapters that the association has globally is a unique selling point that makes membership very attractive to clients, agencies, and media experts alike. This balance is important to the Global Office for shedding light on the IAA’s core topics from these three perspectives. We’ll delve into the core themes shortly, but first, let’s take a look at the person who, together with President Matthias Kiess and the Executive Board, keeps everything so well under control that the association garners significant attention on a global scale.

Born with an international flair

Her father’s work meant that the Landis family moved from Switzerland to Bolivia at an early age, and from there on to Peru and later to Basel. A new school, new people, a new environment. That left its mark—many positive ones, as she emphasizes: an open-mindedness toward the world, multilingualism, and an international flair. But having to start over again and again also meant that Chantal Landis doesn’t feel the need to leave the country permanently for her work. She returned to Zurich as a teenager, intending to stay. After her exchange year in Australia, she studied marketing and media management. Her career path then took her from the agency side to the client side and then into the media industry—to the NZZ, then to Axel Springer, and back to the NZZ. There, she helped build a startup, pouring her heart and soul, time, and attention to detail into it. It was a comparison platform that also offered consulting services. Unfortunately, a CEO—and the resulting change in strategy—pulled the plug on the startup. By that time, Chantal Landis already had four children with her partner. The closure hit her hard, and she stepped back to reassess her work situation with her family. It seemed nearly impossible to land a job interview with a top-notch resume and four children, which left her very disappointed. «It wasn’t until I left the children off my resume that I was invited for an interview. But the first question was still always: ‚Do you have children? How many?’» It wasn’t until she applied to the IAA and sat down with Andreas Widmer, the president at the time, that he responded to Chantal’s statement that she had four children by saying, «Oh, great—I have three.»

A win-win situation for both sides

That was eight years ago. Her wish was to work internationally without uprooting her family—and she’s been able to make that a reality. The Switzerland Chapter is independent and sets its priorities where they are necessary, important, and forward-looking for the industry. As a result, all 40 chapters of the global association have their own agendas. And yet, the New York headquarters has identified eight key focus areas that serve as a guide for everyone: internationality, education, diversity, innovation, sustainability, creativity, cooperation, and advertising law.

«We are often the innovators, and the other chapters adopt our blueprint for their local offerings.»

When it comes to international outreach, Chantal sees room for improvement, as she senses that the membership is somewhat centered on Zurich. International speakers are often invited, members have access to the international network, people travel to other countries for study purposes, and the World Congress, held every two to three years, also offers plenty of opportunities to think outside the box. Chantal Landis believes these opportunities should be utilized even more. Education is an issue for her within the Swiss Chapter, but not a top priority. She says that Switzerland’s universities provide extensive coverage when it comes to education in marketing and communication. Nevertheless, she feels it’s important to emphasize that young professionals are also involved in the IAA. Cross-generational topics are important and are being promoted. This fall, the IAA will roll out a new initiative for the next generation. Innovation and diversity are the areas where Chantal Landis feels most at home and where she also sees the greatest potential. «We set trends; AI was already on our agenda before it became mainstream,» she says. The organization is well-connected, including among the executive directors of the individual chapters, and they meet to exchange ideas once a month. And with the DACH executives, even more frequently. This gives rise to innovative formats, workshops, webinars, and creative ideas. For quite some time now, the IAA has been offering its members guided tours of companies—especially when they’re breaking new ground; the on-site exchange with CEOs and the insights into challenges and opportunities form a solid foundation for innovation. «We’re often the innovators, and the other chapters adopt our blueprint for their local offerings,» says Chantal Landis, and you can tell that makes her justifiably proud.

«Each chapter is independent and has its own areas of focus.»

Diversity and inclusion are strategic issues that are prioritized and implemented differently in every country. Saudi Arabia and Iran, which also have chapters, cannot meet the same diversity standards. But in Switzerland, Chantal Landis has already achieved a great deal, with women making up 30 percent of the membership and four women serving on the board. Membership numbers are steadily rising, with women in particular joining the association. Chantal is certain that where women are visible, other women want to follow. Collaboration, sustainability, advertising rights, and creativity are key areas that Chantal addresses in various ways. The IAA recently held an event on the topic of «freedom of advertising.» Advertising bans have a direct impact on the economy. Naturally, this is a concern for members. The IAA is open to collaborations. Switzerland, in particular, she says, offers so much potential for cooperation—there’s no need to tackle every field alone. In the area of creativity, too, there are strong associations like the LSA and the ADC.

Two Awards for Chapter Switzerland

In recognition of her achievements as managing director, Chantal Landis won an Executive Directors Award at the IAA World Congress in Malaysia in March. IAA Switzerland also took home a second award: the Chapter Excellence Award. This recognition means a great deal to Chantal Landis.

The sun is shining warmly into the office; the afternoon has begun. This is where everything comes together for the IAA Swiss Chapter.

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The Eight Key Themes of the IAA

1. International Focus

IAA members benefit from the organization’s international network of 40 chapters worldwide.

2. Education

In countries such as Serbia and Romania, the IAA chapters are the only institutions offering continuing education in marketing and communication.

3. Diversity

Switzerland is among the leaders. Other country chapters, such as Iran and Saudi Arabia, cannot meet the same standards.

4. Innovation

Switzerland serves as a driving force for all the chapters, which often adapt these innovations for their own countries.

5. Sustainability

Together with Brand Finance, the IAA has launched the «Sustainability Perceptions Index» and collaborates with strong partners both nationally and internationally.

6. creativity

A key theme for the IAA—both globally and locally—which has also significantly expanded its presence at the Cannes Lions. The IAA is forming partnerships.

7. Cooperation

This is an important issue. Not every field has to be cultivated on its own in a small country like Switzerland. Collaboration strengthens cohesion.

8. Advertising Law

Freedom of advertising is a major issue that is causing concern in the business community and is being addressed by the association.