Only eleven percent of the advertising that hits recipients every day via various channels is actively perceived by them - that's what the Havas data scientist Dr. Laura Graf in interview. So how do advertisers get into the range of this "magic eleven percent"? How are they "perceived"? Two recent cases prove that impact can be achieved precisely when advertising is driven by purpose. Both the "Flutwein" campaign and the Communication around the "AXA Women's Super League were designed in response to current challenges and thus ensured sustainable success.

Support women's football

AXA Switzerland is considered the "number one in the national insurance market" and backs this up with impressive figures: Around two million private and business customers in the non-life and life insurance lines, a market share of 40 percent among small and medium-sized companies, and a business volume of 5.7 billion Swiss francs per year speak for themselves.

Nevertheless, in 2018 the brand realized that it had to evolve if it wanted to retain its relevance. This should be done on the one hand by implementing the slogan "Know You Can" - and on the other hand by "filling this slogan with life". A purpose that can be implemented and understood by all Swiss regions, that the general public understands, and that demonstrates that self-confidence can take you far was needed.

First sponsoring partner in five decades

The same was finally found in the sponsorship of the highest Swiss women's football league - AXA became the first main sponsor since the league was founded more than five decades ago and thus, according to those responsible, not only provided "concrete proof for the claim 'Know You Can', but also a sustainable contribution to women's football and women in sport in general".

"Good cause, good channel, good storytelling - and a phenomenal impact!"

The sponsorship was communicated via a "video first" approach in the run-up to and during the 2022 European Women's Football Championship. In social media, but especially during TV broadcasts of matches, AXA was put in the spotlight as a sponsor of sports - which was reflected, among other things, in a consideration increase of 7 percent, a balanced earned-to-paid media ratio and an increase in engagement awareness of 44 percent. The learning: good purpose, good channel, good timing - good impact!

"Flood wine": the worst vintage

Long since disappeared from the headlines, but neither forgotten nor processed, especially by those affected, is the flood that devastated the region around the German episcopal city of Trier and the wine-growing region of the Ahr Valley in the night of June 14-15, 2021. Countless people lost their livelihoods, some their lives - and reconstruction continues to this day.

The creative marketing company Seven.One AdFactory was practically directly affected by the catastrophe due to family connections of an employee. This employee reported about the finished wine bottles in the Ahr valley, which could have been salvaged from the mud - and which should have secured the annual income of the local winegrowers. But now everything is gone, the whole turnover is gone. Seven.One AdFactory, however, did not want to lose the "flood wine"; it produced impressive video spots for TV and social media on a voluntary basis, which, among other things, were to "bring the stories of the bottles to life" with acoustic recordings of the flood. And they succeeded: the vintage, "with a bitter aftertaste on the finish," sold like hot cakes - supported by the moving image campaign and accompanying DOOH measures. All of the sales benefited those affected.

"Seven.One AdFactory didn't want to lose the 'flood wine'."

And: What began as a relief campaign in 2021 continues to this day. The "Flutwein" campaign has won dozens of global creative awards, and the initiators have used the attention each time to commemorate the disaster in the Ahr Valley. In February 2023, they also unveiled the "Museum of Modern Ahrts," which is also dedicated to commemoration. So here too: good purpose, good channel, good storytelling - and a phenomenal impact!

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This article is part of the m&k extra on Screenforce Day 2023.

m&k: Laura Graf, you deal with attention almost ex officio. How attentive are you yourself?

Dr. Laura Graf: That's an interesting question. I would assume that I don't differ much from other consumers in my everyday life. The abundance of information that affects us around the clock requires us to be selective. This is because our cognitive capacities are limited and we can't pay attention to everything at the same time. Nevertheless, I am naturally sensitized to the topic and therefore fascinated by advertising. Which is why it always captures my attention in the long term.

 

You have calculated how "valuable" attention is in the media context. How did you go about this?

By breaking down the duration of daily media consumption into the duration of active advertising attention. In other words, we calculated how long people consume media on average per day. How many minutes of this time they are exposed to advertising and how much of this advertising is ultimately actively perceived. The value of attention is made particularly clear by the fact that there is a large discrepancy between the amount of time that people are exposed to advertising and the amount of time that advertising is actively perceived.

 

If we assume that an adult consumes five hours of media per day, this means that they are presented with a total of 84 minutes of advertising per day in print and online media, on social media, on the radio and on TV. I assume that not much of that will stick, right?

According to Ebiquity, of these 84 minutes in which we are shown advertising, an average of just 9 minutes of active advertising perception remains.

 

This means that we only actively perceive around 11 percent of advertising.

This is the case and, conversely, means that almost 90 percent of the advertising that consumers are shown is not actively perceived at all. This means that a lot of money is spent on advertising that ultimately reaches no one. The goal of responsible media planning must be to become more efficient here.

 

And how do you do that?

There are several levers to increase attention. Some of the most important factors that influence attention are the channel, the format and the device on which the advertisement is received. Another essential influencing factor is the creation: an advertisement that is both visually and semantically highly visible and appealing has a good chance of being noticed. Ultimately, the aim is not simply to play out advertising, but to place it in such a way that it represents a "meaningful experience" for the recipient. Attention must therefore always be taken into account when planning media.

 

Which advertising on which channels is most likely to be remembered?

We know from research that TV is not only the strongest medium in terms of attention, but also in terms of memory. Content that is perceived on TV is remembered better and for longer than content that is perceived on YouTube or Facebook, for example.

 

At Havas Germany, you measure attention on TV, online or on smartphones using eye tracking. How exactly do you go about this?

Specifically, we record the attention seconds of an advertisement, i.e. whether and for how long an advertisement is viewed by consumers. For this purpose, the participants of a panel in the TV area receive a camera that is installed on their TV set and records their eye movements. In the digital area, the panel participants install software that turns the webcam on their computer or smartphone cam into an eye-tracking camera.

 

You also work with eye tracking that is based on artificial intelligence. What are the specific benefits of AI in predictive eye tracking?

Measuring attention using our predictive eye-tracking tool has the great advantage that we can obtain very fast and cost-efficient analyses in this way. We can use it to create a heat map in seconds, which tells us which areas within an image are particularly fixated. In addition, attention shares can be calculated for certain image areas, which makes it very easy to compare different creations or formats. This is particularly useful in the area of pretesting.

 

Large advertisements in particular attract attention, and we also like to look at faces for a little longer. Does this mean that you should always buy large spaces for print and banner advertising and always fill this advertising space with lots of beautiful faces?

It is correct that larger formats generally generate more attention than smaller ones and also that faces are attention magnets. However, I would not answer this question with a blanket yes, because the phenomenon of attention and advertising impact is too complex for that. A large banner, for example, can also be very distracting, and a face can also distract from the actual message of the advertisement.

"Almost 90 percent of the advertising that consumers are shown is not actively perceived."

 

As mentioned earlier, the medium that attracts the most attention is TV. Please tell us the reasons for this.

On the one hand, when we watch TV, we are usually in a relaxed state, which is why television can also be described as a "lean-back medium". This reception situation is ideal for actively perceiving advertising and fully grasping its significance. Another important reason is the so-called "coverage", i.e. the maximum proportion of screen space taken up by the advertising shown on TV. In the TV medium, advertising generally takes up the entire screen, which is why people cannot be distracted by other content.

 

After TV commercials, ads on YouTube are also perceived relatively attentively. How long is the attention span for online advertising?

This depends on the type of online advertising and cannot be answered in general terms. In principle, however, it can be said that moving formats generate more attention than banner ads. In principle, moving formats are better suited to creating meaningful media experiences.

 

According to your comments, we should not only focus on reach, but also on attention. But that's not so easy.

No, this is very difficult because it is mathematically impossible to maximize both target values at the same time. A budget allocation with which a high level of attention can be realized overall only achieves a low reach and vice versa. So if we choose an allocation with a higher reach, we simultaneously reduce attention. We must therefore always weigh up how important attention versus reach is to us, and an "optimal" allocation then results from this conscious weighting.

What does an optimal media plan look like?

This depends on various factors, in particular the product or the communication objective and the current brand strength. If the details and functionalities of the product need to be explained, for example because it is a new or complex product, then a greater emphasis on attention seems sensible. It can then be assumed that, on average, there is enough attention to understand the advertising. If, on the other hand, it is an established brand, then a high level of attention is probably less important; in this case, a few seconds are enough to activate and strengthen existing memory structures with the brand. An optimal media plan combines the various aspects of reach, attention and environment, which in our understanding lead to a "meaningful experience" as a whole.

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The data scientist with a doctorate Laura Graf from Frankfurt am Main has been working on the topics of visual perception and attention for more than ten years. The 36-year-old's research on visual perception has been published in renowned specialist journals. Graf now works at Havas Media Germany in the Data Business Intelligence department.

 

This article is part of the m&k extra on Screenforce Day 2023.

Nothing was planned—and everything worked out. That, in a nutshell, is the story of how the Marty-Trezzini agency came to be. After just five years in the market, the Zurich «powerhouse» already has an impressive track record: The two founders are on Forbes« »30 Under 30” list; the agency is securing increasingly large accounts; and its headcount is growing exponentially rather than linearly.

What makes them special is this: Marty-Trezzini doesn’t operate like a «normal» creative agency or a «normal» production company. They break down the traditional industry barriers, offering «everything under one roof» … and are hugely successful as a result. Could they end up sparking a real revolution?

«This could be huge!»

To answer this question, we don’t just have to visit the agency—we first have to take a trip back in time: It’s 2018, and at Café Odeon on Bellevue, Yves Marty and Gianluca Trezzini—who would later become the agency’s founders—meet for lunch. At the time, they were studying business and law, but they were also very interested in filmmaking and—most importantly!—were close friends who trusted each other. Over club sandwiches and Coke Zero, it becomes clear: Although they’re only in their mid-20s at the time, both Yves and Gianluca can’t wait to strike out on their own «someday.» Someday? But… why not right away, and why not together? Lunch ends, and the idea takes shape: «This could be huge!» Marty texts Trezzini—an SMS conversation that’s now printed out and framed in their shared office.

«Marty-Trezzini break down the typical divide between creation and production.»

So the new entrepreneurs get together, think about what they enjoy doing, what they’re good at—and how that might also be marketable. Videos are the first common denominator, but the whole thing should have a commercial aspect. Art films and cultural productions, therefore, fall through the cracks. How about advertising? That had already fascinated business student Yves Marty in his marketing courses at the HSG, «as the perfect intersection of business and creativity.» Advertising, great—let’s do it. The only challenge left is to gain a foothold as absolute newcomers in a saturated, highly competitive market.

The Third Member of the Trio

Enter Alix Gerber: Just a few months after Yves and Gianluca had completed their first projects, they needed support. Despite the challenge just mentioned, the two benefited from a large circle of friends; a network that carries out project after project after project and always turns to «M-T» whenever there’s something to market. «You couldn’t make any money at all,» recalls Gianluca Trezzini with a laugh, «but you could gain experience. And plenty of it.» Because they work with people who have lots of ideas but a limited budget, Marty-Trezzini is usually consulted on strategy, creative direction, and media mix—even though they initially set out «just» to make videos.

«We've always been interested in advertising: as the perfect intersection of creativity and business.»

Her friend Alix, inspired by the drive of the company that’s just taking shape, joins the team—and advises her to simply «go with the flow.» Why do just one thing when clients want the other as well? Why impose artificial limits just to conform to the standards set by competitors? And so—unplanned but successful—Marty-Trezzini’s actual business model is born: a company that can execute advertising campaigns—from the initial idea through strategy to the finished TV commercial, poster, or print ad—entirely on its own.

Early Milestones

The first milestones follow, and with them, an increasing stabilization of revenue streams. The agency is self-sustaining; it can pay the salaries of three, five, or seven people. On a project for a Swiss bank, Marty-Trezzini worked «on equal footing» with large, nationally leading agencies for the first time; they were hired primarily for their production capabilities—but their knowledge of all other aspects of the creative process impressed their colleagues. «And we ourselves,» recalls Alix Gerber, «realized just how much wasted reach there is in these massive meetings where multiple agencies come together—and how much that ends up costing the clients.» This served as confirmation to work even harder toward ending the «advertising schism.».

This works particularly well with clients who are willing to rethink advertising production. Twint is one such example—perhaps because the company still has a strong drive for innovation even after years on the market. «With others, we sometimes still encounter skepticism,» reflects Yves Marty, «and hear the question of whether we can really do ‚everything.‘ Whether we’re big enough.» For conservative clients in particular, the «old order» (the agency creates, the production company executes) a sense of security and the feeling that «nothing can go wrong.» Marty-Trezzini expresses understanding but urges a shift in mindset. And, after five years, the founders are certainly entitled to say: «Our results speak for themselves.».

Less pitching, more talking

«The Marty-Trezzini agency is unlikely to become a »pitch world champion« with its approach; but this isn’t primarily due to the skepticism of conservative clients—it’s also a matter of their own convictions. Just as when they first started working on projects for friends, »M-T« appreciates it when someone approaches them with an idea—no matter how big or small it may seem. »Then we talk about what we can do,« says Gianluca Trezzini, »and how we can achieve the best results.”

«Even in economically challenging times, »exciting, cool projects« are more important to them than squeezing every cent out of the client’s budget. »If we were doing this just for the revenue, we’d have to switch to a different line of work,” says former HSG student Yves Marty laconically.

«We've noticed just how much wasted reach there is in mega-meetings with multiple agencies.»

Prioritize projects that are a good fit for the agency—and apply the same principle to staffing: This guiding principle came into play a few months ago when «M-T» was able to poach Sabrina Huwiler from Dept. She is the only one on the team who has worked at network agencies for several years, and as «Director of Growth» (and the agency’s tenth employee), she is responsible for ensuring that Marty-Trezzini scales up without losing its own identity. Huwiler is tasked with creating the structures needed when, for example, a major account appears on the horizon—or when five new colleagues need to be hired on short notice. «We’re going to grow,» she says with conviction, «but we can’t predict exactly when. When the time comes, we have to be prepared.»

Chameleons at Work

Speaking of Human Resources: The agency takes a hybrid approach not only in its business model but also in evaluating new team members—a fact that sometimes surprises clients. «If our art director can also take photos, why shouldn’t he do both?» asks Gianluca Trezzini, and you really can’t think of a better answer than: «In the past, you always needed several people for a job like that.»

But that’s just a nostalgic reference, not an argument. And certainly not one that attracts the «young talents» so desperately sought after in the Swiss advertising industry. Because even though they’re often mockingly accused of having «commitment issues» in matters of the heart, in the workplace it’s a major advantage not to force them to commit to anything.

«We're growing. When the time comes, we need to be ready.»

Agencies that have a graphic designer write copy at the same time are practically nonexistent. And, of course, you shouldn’t force subject-matter experts to step outside their comfort zone and risk producing subpar work in the end. But the fact is that more and more incredibly talented young people are entering the advertising industry—people who understand both social media and print. They can draw, but they also know what kind of lens a camera needs when shooting against the light. They can develop communication strategies and also direct advertising clips. Marty-Trezzini offers them a starting point that doesn’t exist anywhere else.

«No blueprint, no KPIs»

Nothing was planned—and everything worked out: These words opened this agency review, and they’ll also serve as its closing. Because «M-T» has no intention of subjecting itself to a radical growth plan, a «blueprint,» or other KPIs. That certainly doesn’t mean that the management team led by Marty, Trezzini, Gerber, and Huwiler is merely «flying by the seat of their pants»—but it does mean that they’ve realized: It’s still all about catching the flow, riding the wave, and recognizing the moment. Then their concept can pay off. And in the end, it might truly serve as a model for a shift in thinking within the Swiss advertising industry.

«Colorful pictures and funny texts»

When someone asks me what I do for a living and I say I work at an advertising agency, I often hear the comment: «Ah, then you must be very creative!» People think I draw colorful pictures and write funny copy. In my role as CEO with a background in consulting and strategy, that’s not really the case (even though there have been times when a phrase I spontaneously mentioned in a meeting actually ended up on a poster). Nevertheless, I consider myself a creative person and view all our employees the same way—no matter what area they work in. Because to me, creativity means being open-minded and curious, having the courage to try new things, and fostering a culture that enables synergies and continuous development. Only in this way can great ideas and sustainable innovations emerge. That’s also our goal at the «House of Communication»: to find solutions for our clients and the brands they’ve entrusted to us that challenge the status quo and, in the best-case scenario, redefine it.

We want to break down the barriers between all marketing disciplines and combine their different strengths in a way that allows ideas to emerge that reach a new level of creativity. We call it «Übercreativity» when people from a wide variety of fields collaborate without hesitation. It’s important to me that all employees can inspire one another. That’s why Übercreativity isn’t just a mindset that drives our client campaigns. It’s also a successful concept internally: Our finance department finds creative, efficient solutions in cost management and administration; our employer branding is enriched by close collaboration between HR and the creative team; and the ingenuity of our receptionists never ceases to delight our clients.

Part of being “übercreative” is not being afraid to embrace MarTech and AI. The innovative use of MarTech allows us to communicate with our target audience in an even more targeted way. It’s up to us to package the message in an entertaining way. At first glance, AI simplifies many things, but it’s currently still overwhelming the entire industry. Fortunately, humans are highly adaptable and know how to handle such changes. Creativity helps us here, too. I’m convinced that no AI in the world will ever beat the imaginative charm of my receptionist, who knows how to put a smile on every customer’s face in her own unique, creative way.

– Pam Hügli, CEO & Partner, Serviceplan Suisse

«Symbiosis or Oxymoron?»

Are creativity and economic thinking compatible? One might think that one excludes the other—that economic thinking is an obstacle to creative work. In fact, however, the two concepts are closely intertwined, as the creative industries clearly demonstrate. In the marketing industry, where creativity is a prerequisite for successfully capturing attention, the cost-effectiveness of attention-grabbers—measured through KPIs—plays an essential role.

The work we do as marketing professionals isn’t just measured by these indicators; in most cases, whether we meet our KPIs also determines whether further marketing activities will be carried out. However, an excessive focus on KPIs can also hinder the creative process. The most effective campaigns often emerge when copywriters, graphic designers, and others are able to give free rein to their creativity—without focusing too much on KPIs in the early stages.

At the same time, KPIs such as views, impressions, and CTR help make marketing efforts visible and tangible. They not only justify the chosen activities but also measure their success and efficiency. For creative professionals, these are two important benchmarks that influence the further course of their creative process and can serve as additional motivation.

Depending on the individual and their experience, KPIs can either support or limit the creative process. Not all creative people are comfortable aligning their work with KPIs. Marketing leaders must take this into account within their teams and adjust the way they set KPIs accordingly. In the worst-case scenario, too many KPIs can stifle creativity. Once you’ve identified which marketing tools and strategies work well in terms of KPIs, you can quickly fall into the trap of relying on tried-and-true, well-worn ideas. So instead of letting your mind wander—a good catalyst for creativity—you run the risk of resting on your laurels.

To prevent this and foster creativity without neglecting cost-effectiveness, marketing teams can rely on data-driven tools for brainstorming and the strategic implementation of marketing initiatives. The combination of data and creativity enables a better understanding of ever-changing customer needs. In this way, a creative process ultimately leads to successful implementation across all areas of a business. After all, the future of our industry rests on the symbiosis of data, creativity, and cost-effectiveness.

– Lea Klipfel, Marketing & Communications Lead, Accenture Switzerland

«Very few people have inspiring ideas»

«You’re a creative too.» I was surprised by this comment from a designer on a joint project. I’ve spent half my life in the corporate world, I know the ins and outs of the executive suite, I can interpret KPI dashboards, and I know how to pitch a multimillion-dollar project to the board of directors. «You think so differently—that helps us enormously,» the person continued. How can I possibly help the creative people, I wondered, and how can creativity help the business?

«We solve business problems with creativity»—that’s Wirz’s mission. That’s why I made the switch to the agency world. After all, everyone has data. Many have insights derived from data. But very few have inspiring ideas about all the things you can do with data. And only a handful dare to harness the «superpower» of creativity in the corporate world to drive growth. This requires courage, more rigorous pre-testing, and the willingness to pivot if an idea doesn’t work out after all.”.

A good example of this is a Swiss SME in the luxury goods sector: Sales figures plummeted during the COVID-19 lockdown, and the marketing budget was cut in half. At the same time, certain political circles wanted to terminate the Agreement on the Free Movement of Persons between Switzerland and the EU. This would have posed a major obstacle for the SME’s employees living in neighboring countries. We started by focusing on the customers: Where do the customers who order online come from? Based on their address data, we were able to statistically determine these customers« political leanings. The result was a clear picture of the target customers. The creative »Magic Moment” then emerged in the second step through a witty play on words that addressed the SME’s critical stance toward the free movement initiative. This mini-campaign was rolled out on social media to the identified target group with the appropriate political stance. The result: a prominent article in a renowned Swiss daily newspaper and a 22% increase in sales compared to the same periods in previous years.

If we can combine a marketer’s linear way of working with a creative’s «oscillation,» we create that «goosebumps» effect—not just for the target audience, but also for the CEO, CFO, or CMO. And if creativity is a superpower, it’s not limited to good copy, appealing design, or campaign ideas. It’s about problem-solving. And so my conversation with that designer ended with his words: “You, too, are a creative—sometimes.”

– Dr. János Heé, Chief Marketing Innovation Officer & Co-owner, Wirz Group

«Creativity is the soul of innovation»

Creativity is much more than just an idea. I would say it is the soul of innovation. It often requires a long process—as well as the freedom to explore, which begins with research, analysis, and inspiration. Ideally, this leads to an innovative idea that captures the target audience’s attention and motivates them to take action.

Artificial intelligence (AI), as used in Salesforce Einstein GPT, for example, can accelerate and improve this process by processing data analytics, customer behavior, and market trends in real time, thereby enabling faster decision-making. This frees up space for creativity! AI can also show us new avenues by sifting through millions of data sources and identifying patterns we wouldn’t otherwise discover.

AI provides a better understanding of customer needs and can thus positively influence the customer experience. Through real-time data analysis and automated processes, AI enables personalized recommendations and interactions with customers that enhance and enrich the brand experience. Generative AI can also create relevant content for customers. For example, customer service representatives can generate automatic and personalized chat responses based on existing case notes. Such generative AI provides people with tools of extraordinary power, flexibility, and personalization, effectively acting as super-powered assistants.

At Salesforce, AI complements marketing efforts and handles simple tasks so that employees can focus on complex, strategic tasks. Using the best AI tools requires no data expertise and is done with a few simple clicks instead of code.

For me, a captivating idea that appeals to our emotions and leaves a lasting impression is the key to compelling marketing. However, it is of great importance that companies do not forget the significance of human creativity and ensure that it continues to play a central role in their marketing strategy. Thanks to AI, we can devote more time to creative and strategic thinking, thereby further improving and developing our skills.

– Vanessa Gentile, Head of Marketing for Switzerland, Salesforce

«Separate rooms or a shared home?»

How do marketing and creativity coexist—and interdepend on one another? Let’s look at a leading global example: Procter & Gamble, which provided me with a truly pivotal experience in this area.

My first contact with «P&G» came when I was Global Chief Creative Officer at Leo Burnett—the agency I would look back on and describe as my «creative home.» There, I had developed a «roadmap» against which all of the agency’s creative work had to be measured. At the top of the scale were qualities such as «By far the best in the world» (10), «New standard in communication» (9), and «New standard in a product category» (8). Just below those on the scale were the prerequisites of quality and class—«Excellent Crafting» (7), «Fresh Ideas» (6), and «Innovative Strategy» (5). And then came what one wanted—and should—avoid in advertising: «Clichés» (4), «Lack of competitiveness» (3), «Destructiveness» (2), and—well—«Inhumanity» (1); rightly banished to the bottom of the scale.

With my roadmap in hand, I met with several marketing executives from Procter & Gamble who were eager to discuss their work. In every respect, they failed to move beyond the seventh level of the scale, which put them under considerable pressure—because even back then, their bonuses were tied to performance. The room went quiet, and I turned directly to Jim Stengel, P&G’s CMO at the time. Although some of his people had been skeptical about the Burnett Roadmap, he immediately understood what I was trying to tell him. «This is brilliant,» Stengel said, «so what do we do now?»

I went to the archives and found a presentation titled: «Does award-winning advertising sell products and build brands?» Leo Burnett had shown this presentation a few months earlier in Cannes; it summarized findings from 16 years of research. The results were clear: Advertising that won major creative awards also achieved between 80 and 86 percent of the goals that had been set aside from creative brilliance. And what’s more: Brands that consistently won major awards became «icons»—like Apple, Nike, and Levi’s. So here, P&G CMO Jim Stengel had the answer to «What do we do now?»: The company had to rely on the Burnett Scale to achieve creative excellence … and submit every piece of advertising produced to Cannes. This would give marketing new momentum and demonstrate how the company was positioned relative to the competition.

In 2002, Jim Stengel traveled to Cannes with 30 colleagues. A year later, the P&G delegation had already grown to 50 people. And Stengel added a new note to every agency briefing: «Win the Grand Prix.» It took just four or five years to achieve that goal. Magnificent, groundbreaking campaigns followed—from the stunning relaunch of Old Spice to the Cannes Grand Prix for «Like A Girl» and, of course, Cannes‘ «Marketer of the Decade» award. This shows that when a CMO places the proper value on extraordinary creativity, it translates into the brand’s success—and does so permanently.

– Michael Conrad, former Global Chief Creative Officer, Leo Burnett

«Creativity in Marketing—Does It Even Exist?»

By now, everyone is familiar with the theories of successful marketing, and the strategies and approaches have long since been decoded, dissected, and documented in countless YouTube videos, case studies, and consulting charts. AI is now also helping us put these into practice. And yet: the vast majority of marketing communications is dull and fails to make much of an impact.

Creativity makes it possible to capture attention, evoke emotions, and convey messages in a way that is both simple and memorable—in other words, «worth remembering.» Especially when media and performance budgets are limited, it is essential to skillfully harness the virtually inexhaustible resource of creativity.

In my view, a key aspect of creativity is changing one’s perspective. Creativity and a change of perspective are closely linked. After all, when you adopt different perspectives, you see new things and create new combinations that lead to creative solutions. As the great Steve Jobs once said: «When you ask creative people how they did something, they feel a little guilty because they didn’t really do it—they just saw something new.»

To find out what these shifts in perspective look like and how you can put them into practice in an inspiring way, try turning this article upside down: the simplest form of a shift in perspective.

A great source of inspiration that I only recently discovered is the Argentine artist Leandro Erlich. He is known for his eye-catching installations, which play with shifts in perspective in a striking way. His «Uprooted House» in Karlsruhe is a great example. Or his optical illusion featuring mirrors in a hair salon, which turn out to be passageways.

When you look at banking communications, everyone has been talking about «tailored offerings» for decades. Alpian, Switzerland’s first digital private bank, however, takes personalized service to a whole new level—with a shift in perspective. The «No 2 Alike» campaign features identical twin pairs; they couldn’t be more alike. Together with my agency, Foundry, they spoke with Alpian about their wishes and priorities when it comes to money. And, what can we say: even identical twins aren’t exactly alike. This aligns with the bank’s approach to its clients.

Here’s another example: Sennheiser highlights the technical advancements of the «Ambeo Soundbar» from a new perspective by featuring the best experts in hearing (such as wild lions, cheetahs, owls, and desert foxes). They convey the quality of the speakers in a completely natural way—without words.

Openness to new perspectives must be inherent, but it can also be fostered. One way to do this is to bring together people from different backgrounds and with diverse experiences to gain new insights and broaden one’s own perspective. At Foundry, the team has been international and diverse since the company’s founding, which creates a very open atmosphere and consistently allows for entirely new interpretations.

«The head is round so that thought can change direction.» With this quote, the French artist Francis Pacibia established the mindset for what was then a new art movement—Dadaism—in Zurich in 1916. In my view, to be creative, it’s essential to consciously step outside your comfort zone and gain new experiences and perspectives. So, in a nutshell: Without creativity, there can be no good marketing or good communication. For the joy of creativity and the success of our clients.

– Sacha Moser, Founder & CEO, Foundry

Video advertising will continue to play a significant role in Switzerland’s advertising mix—a point on which the country’s leading media agencies and major advertisers agree. However, there is one challenge for which solutions are still being sought: namely, the increasingly fragmented viewing habits of audiences. As various studies have now shown, viewers no longer watch television exclusively «linearly,» but prefer to watch it «on-demand.» They also use multiple screens simultaneously; for example, they might scroll through their TikTok feed while a TV series plays in the background—and they’ll unabashedly «tune out» if it gets too boring. So what can be done to maintain a generally optimistic outlook on the future of video advertising?

The Art of Integrated Strategy

The question of whether to use video is always closely tied to the strategic objectives and, therefore, to the client’s specific communication goals, explains Oliver Schönfeld, Managing Director of TWmedia. As a result, there are no personal preferences, no magic formula, and no «off-the-shelf» plan. «That’s why its role in the communications mix is always unique,» explains the 53-year-old head of TWmedia. However, a well-planned video campaign is «an effective means of increasing brand awareness and building a strong brand presence.».

Despite changes in video consumption and declining viewership among younger age groups on linear television, TV advertising in particular—and video advertising in general—remain a «highly effective way to reach a large number of people.» This is particularly true when combined with online videos and other screens. «Replay ads and, more generally, data-driven technologies such as programmatic TV, addressable TV, and so on make it possible to target TV advertising specifically at certain audiences,» says the head of the Basel-based agency. Overall, it is important to view TV advertising not in isolation, but as part of a comprehensive video strategy. «In this respect, video advertising—when interpreted in a modern way and intelligently integrated—is a medium with a future for us,» emphasizes Schönfeld.

A Central Role in Awareness Campaigns

Moritz Schneider, CEO of the Zurich-based agency Mediaschneider, echoes this sentiment. «Video advertising plays a central role in our clients» media mix—especially in awareness campaigns,« he says. Unlike other formats such as print or radio advertising, video advertising achieves a higher advertising impact, which has been scientifically proven. »Not least, an advertising message can be conveyed much more concisely and creatively through video.”

Nevertheless, Schneider also points out the challenge mentioned by his Basel-based colleague Schönfeld: The media landscape is changing, and this is particularly noticeable in the TV sector. Traditional, linear television is becoming increasingly less important. «In contrast, the use of streaming and time-shifted TV is on the rise, offering new opportunities and possibilities for advertisers.» In the media expert’s view, replay ads and ad-supported streaming services are likely just the beginning; formats better adapted to current trends are likely to follow soon.

Conveying Emotions and Assets

And what do the clients think? Lindt, the chocolate company, relies almost exclusively on video, as Andrea Hänggi, Head of Marketing for Switzerland, explains: «Nearly 90 percent of our media mix consists of video advertising,» she says. This includes TV, as well as social media, YouTube, and DOOH. Why such a strong focus? «Video advertising is very important to us because it allows us to better convey both emotions and our ‚Distinctive Brand Assets,‘ such as the ‚Lindt Maître Chocolatier.‘» Despite all the fragmentation, the 39-year-old remains convinced that TV will continue to be an effective platform for advertisers in the future. «TV is a particularly good medium for brands with a broad target audience to efficiently reach many people. And that’s likely to remain the case for quite some time.»

Engaging the Audience

When it comes to the emotional impact of video advertising and its ability to reach broad segments of the population, Sacha Zuberbühler agrees with Andrea Hänggi. As head of marketing communications at the retail giant Coop, Zuberbühler must regularly ask himself how he can embed the company’s core messages—as well as special offers and promotional weeks—in the minds of the Swiss public. «Video enables Coop to deliver content perceived as high-quality to a large, diverse audience,» he says. The advertising opportunities are enormous. «This medium helps us convey messages in a way that connects with the audience on an emotional level.» For the 47-year-old, there is «hardly any other format that is better at telling stories and conveying advertising messages in an engaging and straightforward way.»

«There is hardly any medium better suited to storytelling than moving images.»

Like the previous speakers, Sacha Zuberbühler certainly doesn’t think much of turning a blind eye to clear trends: «It’s obvious that linear TV viewing is continuing to decline,» he states. The traditional commercial break is therefore becoming increasingly less important because it no longer adequately meets the needs of effective media consumption. Nevertheless, the big screen, as a «lean-back device,» has clear advantages over other video formats: «In our view, the future lies in developing advertising formats that take these changes in TV usage into account,» he summarizes. The Coop executive also sees great potential in special advertising formats, replay ads, and connected TV.

Finding Creative Solutions

The increasing fragmentation of the advertising market also poses a challenge for Henkell Freixenet—known for its sparkling wine and various other spirits. After all, the company wants to reach all of its customers. «We have no choice but to invest in our brands, think ‚outside the box‘ in our media planning, and be creative,» says Vanessa Wimpfheimer, Head of Marketing at Henkell Freixenet Switzerland.

TV remains the most widely consumed source of video content in Switzerland. «Video advertising therefore still accounts for the lion’s share of our planning,» says Wimpfheimer. This advertising format is the best way to convey emotions and engage the target audience both visually and aurally. «We know from studies that this positively influences brand awareness and recall.» Of course, this also requires relevant video content.

With Freixenet, the strongest brand in its portfolio, Henkell Freixenet Switzerland has been the market leader for years. «In addition to rigorous brand management, we have long relied on a video strategy with a high proportion of special advertising formats.» This has paid off for the sparkling wine specialist. «We’ve been able to further expand our market share, strengthen brand equity, and further increase our already very high brand awareness,» the 42-year-old told m&k.

The TV industry, too, has recognized that it needs to evolve. Replay Ads have ushered in a new era of advertising. «The ball is rolling. We’re convinced there’s still a lot to come in this area.»

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«TV or no TV? That is the question!»

Anyone who has carefully studied this text should have taken away a few key takeaways: Video advertising is extremely important for a smart media mix. However, agencies and clients use this term to refer not only to TV advertising but also, more broadly, to «moving images» broadcast on social media or on DOOH screens. The industry has no doubts about the impact of TV, but expects that advertising infrastructure will be developed to address the trend toward time-shifted viewing. The fact that this is now happening in Switzerland—for example, with so-called “replay ads”—offers hope for the medium of TV. One thing that must not be overlooked—and which was, among other things, the key finding of the 2022 Screenforce study—is that, among all moving-image channels, TV continues to enjoy by far the highest level of trust: At the time, study participants rated TV’s credibility at 72 percent—nearly a third higher than that of YouTube, which ranked at 44 percent. The credibility of the three social media platforms—Instagram, Facebook, and TikTok—was already below 30 percent.

It’s hard to imagine a greater contrast than the one Sir Paul Smith presented to me on a sunny April morning in his office. On one side: a photo showing him with King Charles III, rendering royal protocol meaningless—as the two men embrace warmly; close friends who haven’t seen each other in a long time. On the other side: a nativity scene in a small cardboard box, made from painted peanuts. A young girl gave it to the designer many years ago. «She said she didn’t like fashion,» he recalled. “But she liked me!” This contrast reveals the full breadth of the universe that Sir Paul Smith has created over the past five decades.

Anyone who wants to take a peek into the heart of this universe must travel to London—more specifically, to an unassuming building near Soho, at 20 Kean Street. Here, nestled among warehouses and offices, more than two hundred people run a design empire that has spread across the globe—one that launches fashion collections, initiates collaborations with mega-brands, and curates exhibitions. And right at the top, under the roof of 20 Kean Street, resides the maestro himself—surrounded not only by the photo with the king and the peanut nativity scene, but by thousands of special, curious, colorful mementos of an eventful life. There are pink bicycles that Paul Smith designed; there are rare Swiss watches in a display case («No idea if they’re worth anything,» Smith says laconically, «I just like the way they look.») … and then there are picture frames, crooked and of varying sizes, stretching from floor to ceiling. «Paul is a madman,» notes the eight-year-old grandson of a friend on crumpled paper; next to snapshots with David Bowie, Bill Nighy, John Legend, and Jamie Oliver. All of them standing shoulder to shoulder with Smith, all beaming. Is he what you’d call a «star among stars»? Should I describe him that way? The designer smiles—and immediately waves it off.

m&k: Sir Paul Smith, why do so many people feel literally «drawn» to what you do? Do you consider yourself particularly charismatic?

Sir Paul Smith: Oh my God, no (laughs)! I’m just—Paul. To think or say anything else would be just as wrong as it would be presumptuous. I’ve been very lucky in my life, both in terms of the things I’ve been able to do and the people I’ve met along the way. We’re sitting here surrounded by gifts: I’m privileged to be able to pour a lot of myself into my work—and some people seem to like that so much that they want to «give something back.» So they send me a package. And I’m grateful for every single one. What’s more, writing postcards with a personal thank-you note is the first thing I do every morning at the office.

 

But when I look at the clocks in the next room—or the paintings in the stairwell—they can't just be gifts. You're a passionate collector, aren't you?

I wouldn't say that. I actually know very little about the things I buy. I buy them because I like them, because they pique my interest. But I don't think about completing a collection of watches or a series of artworks … that's just not how I'm wired. (laughs).

 

So what is it that sparks your interest in a property?

I’m driven by curiosity. They were kind enough to bring me these chocolates from Switzerland (points to a box of Sprüngli pralines). They come in a tin that has a lovely texture—and a rich, midnight-blue color. I can’t help but wonder why the tin was made in exactly this particular way. Perhaps that’s the answer to your question: I like to surround myself with objects that invite me to reflect—and to «play» with them. That’s why my offices also have a… not a childish one, no, but a childlike character.

 

You may not call yourself a collector, but you can certainly call yourself a curator: You’ve just «turned the Musée National Picasso-Paris upside down» to showcase the painter’s works in your own way. I imagine that was a lot of fun.

Oh, it sure did! It sure did! To this day, I don’t know exactly why I was asked to do this… I’ve been called a lot of things, but I was never considered a Picasso expert (laughs). Still, I was given free rein to think about what a museum could look like. Paintings in a white room? Everyone’s seen that. Color on the walls, on the floors, lots of surprises? That’s more my style. And: The exhibition has been a huge success so far! That said, a renowned gallery owner who’s a friend of mine recently visited it—and sent me a text afterward: «Paul,» he wrote, «that’s… a lot!»

While planning the exhibition, did you discover any parallels between Picasso’s work and your own?

I would never compare myself to Picasso. But … if you’re deliberately looking for parallels, then perhaps one thing we have in common is our shared desire to continually reinvent ourselves—to transform ourselves. I’ve been in the design business for more than fifty years now. Especially in the fashion industry, you have to constantly reinvent yourself to stay relevant. And our brand seems to have succeeded quite well at that, because we’re still an independent company—which is extremely rare in our field. I live by the premise: «What if…?» Let’s make the print bigger. Let’s make the logo smaller. How about a lighter color? There are commercial reasons for this, but it also reflects my deep conviction that repetition is boring. It was much the same with Picasso. Of course, he didn’t have to design a spring collection every year, but he thought: «Cézanne used a less representational technique. Maybe I should try that sometime, too?» The fact that there’s a certain periodicity in one’s life’s work—at varying intervals, of course—probably applies to both of us.

 

The collaboration with the Picasso Museum was really a «no-brainer»—a fantastic, exciting project. Do you often have to turn down other offers for collaborations?

I do get offered quite a lot, actually. And yes: I have to turn down quite a lot. That’s sometimes very hard, because there are great projects and great people out there, and sometimes you wish you could do it all. Sometimes people even try to lure me with a lot of money (laughs). But I’ve learned to trust my gut, and… if something doesn’t feel right from the start, then I don’t do it. Just yesterday I had to say no to a pretty big project, but that’s just part of the job now. Because when we commit to something as a company, we do it with our full dedication. I think the Picasso Museum was quite impressed by our efficiency—we met all the deadlines and planned ahead. We have artists, architects, and a communications team in-house, so we know exactly what we’re getting into with a project like this. And when we suggest putting up green wallpaper, we already know how we’ll remove it later. Collaborations should always be pursued with absolute consistency—or not at all.

 

Speaking of collaboration: You’ve launched several pen sets in partnership with the Swiss premium brand Caran d’Ache. The colors from the current set were used for our cover. How did this project come about?

Both out of personal interest and out of a genuine need. I always have a Caran d’Ache pen with me. Always. And a small notebook (he pulls both out of his pocket). I love having pens in color combinations that really make me happy. And there are always new variations to try out—that’s why we’ve already launched several collections.

«I'm privileged to be able to put a lot of myself into my work.»

Ever since I started writing about brands, I’ve been fascinated by the idea that there is a brand essence—which, in this case, would be your unique perspective as a designer—and that an entire universe can grow around it, constantly expanding… without losing sight of that essence. How do you put that into practice?

Edward de Bono, a wonderful polymath, once said that our vocations change us—but we all too rarely change our vocations. Staying true to one’s innermost self while constantly reinventing one’s brand, expanding it, and adding new elements to it… is certainly a challenge. But I’ve always known exactly who and what I am. If I’m supposed to be the core of it all—which I’d probably phrase a little differently, because we have a wonderful team here—… but if your theory is correct, then I have to hold on to that knowledge. And when investors approach me and offer me billions of pounds for my company, I mustn’t be tempted. Although… that would be difficult for purely practical reasons, not just for idealistic ones (laughs). Because I have a wonderful wife whom I’ve been with for decades, and she’s always brought me back down to earth. Pauline is the best partner anyone could imagine. She’s… incredibly well-read; she’s my greatest source of inspiration. And most importantly, to her I’ll always be the young good-for-nothing she met in Nottingham when I was just getting started. We have a beautiful home; I swim every day, ride my bike, and go to the store every Saturday to meet my customers. What would I need a few billion pounds for?

 

Would you say that humility is one of your greatest strengths in business and leadership?

Yes. There were times in my life when I was faced with an extraordinary amount of publicity, newspaper articles, TV segments… they really aired just about everything. But you just can’t let it go to your head! If you start believing the stories people tell about your brand or your successes, and you get complacent, sooner or later you’ll be caught up by a brutal reality: Nobody cares how good you used to be. Not just in the fashion industry, but especially there. As soon as you start thinking you’re great, someone in the fast lane will zoom right past you. By the way, it’s just as important to pay attention to the people you surround yourself with. A submissive, uncritical team that feeds the boss’s ego with false compliments leads straight to disaster.

 

For you, showing humility and appreciation also means going to one of your stores every week and working there. I find that fascinating.

I just enjoy seeing the customers. And I’ve never forgotten who pays my company’s salaries. They aren’t celebrities or millionaires. They’re just ordinary people—people who appreciate what we do. So I go to the store regularly. Just last Saturday I was there and met an 86-year-old architect whom I’ve admired my whole life. He bought a pair of shoes, and we had a nice chat. In just one morning, I meet someone from Greece, from Copenhagen, from Zurich… isn’t that just incredible? And I’m always learning something new. Even on a relatively quiet day, someone suddenly walks into the shop, and I hear: “He’s building an airport in Mexico!” Where else would you find something like that?

«I like to surround myself with objects that inspire me to reflect.»

You just mentioned your wife, Pauline Denyer. Of the two of you, she’s the one—surprisingly—who has training as a seamstress, right?

That’s right. When I was fifteen, I dropped out of school because I wanted to become a professional cyclist. But an accident two years later shattered that dream. Then I met Pauline, who was planning to study couture. So, of course, she did a proper, traditional tailoring apprenticeship. At home, sitting at the kitchen table, she did her best to pass on her knowledge to me. For my part, I brought everything I had—my energy, my optimism, my outlook on the world—to the table… and it all worked out pretty well (laughs). My wife and I complement each other perfectly. She’s strong where I’m weak, and vice versa.

 

You come from a very different background than fashion designers like Karl Lagerfeld or Christian Dior. How do you approach the design process? Is there an unconventional «Paul Smith method» as well?

Everything happens around this table (taps the polished wooden table where we’re sitting). This is where it all begins. It’s the only spot in these rooms that must always be empty and tidy. Once a week, I gather my design team—wonderful people I’ve been working with for a long time. We put on some music, open a box of cookies… and then we chat. We deliberately take a playful approach to the process. Everyone brings something they’ve seen that they liked. And then the conversation gets going: «Look at these colors together. That could be a pair of pants, and that could be a shirt.» – «No, I don’t think so.» – «But the texture is great. Could we make a print out of it?» Everything develops quite naturally. Just like in my office: childlike, but not childish.

 

What are you hoping people will understand when they look at your work? Is there a message «beyond the products»?

We’ve touched on this a bit already, but … I want to show through my work that you don’t have to be loud to be significant. My PR team sometimes advises me to brag a little more about the great projects we’re launching, but… most of the time I’m just playing around with ideas that, luckily, end up working! It’s not rocket science, and that realization is also a lesson in humility for me. I want that to be reflected in my work. You don’t have to be a snob to have style; you don’t have to be rich, you don’t have to have a big ego—you can keep both feet firmly on the ground. You just have to express your own individuality and get a feel for what works for you. How exhausting this constant urge to compare oneself to others is! Oh, the neighbors have a new car! They bought a boat! The model on the poster is wearing a new coat! And if only I could have that too, then I’d be happy. But that isn’t happiness. Happiness is finding yourself.

Your designs are often described as «classic with a twist.» Maybe people feel that in your clothes, they can be themselves—serious on the outside, but playful, even a little mischievous, on the inside. Or am I reading too much into it?

No, that’s pretty close to the mark. I like to incorporate little secrets into my designs. When I first came up with ideas for suits in the 1970s—which Pauline helped me bring to life—I didn’t want the suits to be too flashy or even confrontational. Maybe that’s exactly what they would have needed to be to turn heads on the runway—because fashion shows are always about particularly radical ideas—but I wanted them to look beautiful, simple, and elegant. Still, I thought they could use a colorful lining or some other kind of «twist,» and that has become a hallmark of the brand. Even though the phrase «classic with a twist» has been somewhat overused by now, I find (laughs).

 

Are there any projects you're definitely planning to tackle in the future?

I’m generally very happy with the way things just turn out. We have a lot of fun here every day. To be honest, I’m actually more worried that a huge, red double-decker bus might suddenly fall on my head—because I get to experience so many wonderful moments all the time. One of my assistants recently complained that she gets stomachaches from laughing too much when she’s here in the office. And she said I’m the company’s «Chief Happiness Officer.» So, once again: I take each day as it comes. The only big wish I ever had for my life was to be able to enjoy every minute of it. And that wish came true a long time ago.

 

Where does a world-class designer like you go when you're looking for inspiration?

When I’m not at the office, my «inspiration hour» is between 5 and 6 a.m. That’s when I go for a swim. I’ve been doing this for decades, and it helps me immensely to clear my head. Then I drive to the office, where it’s usually still very quiet, and enjoy the silence. There are no business decisions to be made yet; I have time to myself—and that becomes a rare commodity when you’re not only a designer but also the owner of a company.

 

Can you «train» your own creativity—and if so, how?

Once again, I would say: Connect with your inner child. That’s the most important thing when it comes to creativity. Remember that when you were young, you weren’t burdened by education, experience, or doubts. That’s why you were much more open and honest. You felt free to ask questions: «Oh, why is that? And why is this?» As you get older, you suddenly start to believe that it’s rude—even inappropriate—to ask questions. Children think «outside the box» all the time; they just go with the flow. Can I let you in on a secret? Our flagship store in Los Angeles—the pink building on Malibu Drive… that didn’t come out of any lengthy design strategy meetings. We simply said, «The sky there is blue most of the time. Let’s build a pink building. Pink and blue look good together.» Et voilà. That’s how children would act, and the store’s success shows that there’s absolutely nothing wrong with that.

Do music and literature help you be creative?

Music—yes, absolutely. Literature… not so much (laughs). I love the idea of reading; the concept of losing myself in a book. But my attention span is probably too short.

 

Nevertheless, a few years ago you designed the cover for a special edition of D. H. Lawrence’s *Lady Chatterley’s Lover*. Why?

Because the book is romantic, sexy, and cool. I like the idea behind it: a working-class man and an upper-class woman trying to be together despite the social conventions of their time.

 

For a moment, I wondered if you might feel that there are some parallels to your own love story with your wife—since she has formal, classical training as a seamstress, and you represent the untamed, creative force.

Ha! I've never thought of it that way. But it's a charming idea. If you want to go with that theory, feel free.

 

After five decades at the helm of your brand, do you ever think about your legacy?

I hope I still have ten, maybe fifteen good years ahead of me. The Paul Smith Foundation has been around for some time now, and we employ … two or three people there. And I assume we’ll be expanding the team over the next few years. The foundation’s purpose is essentially to help young people get a foot in the door of the workforce, but not primarily those with academic qualifications. I’m thinking more of people like me, who come from humble backgrounds, without a great education, perhaps dyslexic—just as I am. People who have talent but don’t quite know how to put it to use. And as for the company, the plan is for my most experienced employees to take over the leadership one day. I don’t have absolute clarity yet on how that will play out; I’m really not trying to hide anything from you… I just don’t know yet. We’re currently figuring out how to keep the company moving forward in a way that preserves its «heart.» So that it isn’t just a money-making machine. Sure, Paul Smith as a company has to be financially sound to survive, but that shouldn’t be an end in itself. Before we started the interview, you mentioned that many of your friends associate stories with our clothes; memories of a wedding suit, a colorful sweater, a pair of striped socks. And that those are beautiful memories. If it’s true—if the Paul Smith brand really conveys a special spirit—then we have to preserve it, even when I’m no longer here.

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Sir Paul Brierley Smith (born 1946) is a British fashion designer and entrepreneur who founded his fashion company, Paul Smith Ltd., in 1970. Today, the company operates worldwide. Smith is best known for his men’s fashion collections—which he himself has described as «classic with a twist»—and for his use of vibrant colors and floral patterns in his designs. He is considered Britain’s most successful designer. Under the Paul Smith brand, clothing, shoes, and accessories for women, men, and children, as well as perfumes, watches, home furnishings, and more, are sold worldwide through a network of company-owned boutiques and high-end retailers. In addition, Paul Smith launches numerous collaborations outside his core business, such as with automakers, museums, and pen manufacturers. Smith has been in a relationship with Pauline Denyer for more than five decades. The couple lives in London.

The motto "Courage to change" does not refer to the choice of the attractive venue, but rather to the competent speakers who encouraged the participants to think outside the box of the graphic arts industry. Looking back, the Lucerne Forum proved to be a successful event with many valuable suggestions and an attractive display of unique printed matter.

The KKL, which hosted the second forum for the print and media industry, is unique, as is its location in the heart of Lucerne, right on the lake. This raised high expectations, which were fully met. After all, there were proven professionals on the fringes or outside of the printing industry who brought new perspectives and also provided encouragement. In their welcoming speeches, the two speakers stated unequivocally that print has an impact, which the industry should point out clearly and consistently (Daniel Ettlinger, Galledia) and, above all, emphasize the trendy advantages such as sustainability (Beat Kneubühler, Viscom).

Print relies on facts, online on success

Ulrich Reitz, a journalist with heart and soul, as he describes himself, used several examples to illustrate the success of online: By the time a report appears in the newspaper, it has long since spread via the Internet. This counts more with the (young) audience than well-researched facts. There are also other stumbling blocks that print has to avoid in the age of the web and social media. For example, the high delivery costs, which rose significantly in Germany when minimum wages were introduced, making them virtually unaffordable for newspaper publishers. But convenience is also becoming a hurdle for print titles, as hardly any readers are willing to make the trip to the letterbox when they can look at the same paper directly on their iPad in bed. And artificial intelligence (AI) poses further dangers, as Reitz impressively explained, such as automatic translation, which allows the newspaper to appear in any desired language. "And yet it is still an honor for me today," Reitz concluded, "to appear in print. I don't want to lose sight of the facts."

The subsequent panel discussion featured an internationally active online printer (Jürgen Winkler), a new media specialist (Seta Thakur) and the managing director of one of Switzerland's largest advertising agencies (Roman Hirsbrunner), the latter accompanied by Sven Würgler, Trainee Future CEO. Hirsbrunner sees change as the biggest challenge for himself and those around him. He must and wants to initiate this, for example with the next generation, who bring new ideas into everyday life. These should be followed as early as possible, so that it soon becomes clear whether the impetus can be realized or not. And the potential damage is limited. Sven Würgler used his own example to illustrate the contradictory nature of young people: he doesn't find print very attractive, but doesn't want to give up reading books. He sees his role as a candidate for the future position of CEO as an adventure that he enjoys. For Winkler, a graphic arts entrepreneur, it is important to react quickly to customer trends in today's world. He finds it more important to recognize such trends than to track down technical innovations. Digital specialist Seta Thakur is convinced that print is here to stay. She sees the key to success primarily in the will to stand up for print.

Generation Z shows the way

Jo Dietrich, the son of a journalist who feared the decline of print, therefore stayed away from print during his training. However, he still feels connected to it, as he wrote a successful book about Generation Z and published a large number of copies. He impressively showed the (digital) highlights from SMS to YoTube to TikTok, which have shaped these young people on their path through life, but at the same time warned them not to ponder this generation, but to talk to them in order to understand them better. They use other channels, tend to stay away from TV and radio, their world is streaming services, podcasts and social media. But even such media are not closed to print, as he explained using BookTok, which presents books aimed at young people.

To liven things up, presenter Sunnie Groeneveld and Viscom Managing Director Beat Kneubühler presented the "Printed in Switzerland" award, which recognizes a client who has made a special commitment to print in our country. The winner was a producer of a very special printed matter that we hold in our hands every day and without which we could hardly live: the banknote. The Swiss banknote is produced by the Zurich printing company Orell Füssli, the main shareholder is the Swiss National Bank, whose print manager was presented with the prize in the form of a beautifully carved wooden cow.

Believing in success

Two items on the program caused some participants to frown: What is a slam poet supposed to do to the print specialists? And then there was the Olympic champion Dominique Gisin, a person who is well known throughout Switzerland, but who has hardly anything to do with print! But she does, as she clearly demonstrated in her very impressive presentation. The unique motivational injection came from Gisin in the form of a review of her life, which was characterized by many failures before the really big victory came. Skiing fascinated her from an early age and led her to victory in the Ovo Grand Prix as a teenager, in which more than 5,000 boys and girls took part. Instead of riding on this wave of success, knee problems held her back. As a result, Gisin was only able to take part in two races between the ages of 15 and 18, while her great rival Lindsey Vonn completed 113 races in the same period. Despite the enormous training deficit, she did not give up and, with a lot of hard work and a little luck, managed to win an Olympic gold medal. This thorny path can be read about in her book "Making happen". It is not this printed matter that points the finger at the graphics industry, but her will to keep trying, even in the face of poor odds. Until success.

At the end of this multifaceted print conference, the "Swiss Print Award" was presented to those printed materials that put the spotlight firmly on this beleaguered medium. The best works were honored by Anna Kohler, who also sits on the multi-member jury and therefore knows the award winners particularly well. She was able to invite the gold, silver and bronze award winners to the stage in the categories Books, Printed Matters, Publications, Printed Objects and for the Peter Grob Award. A jury member gave a laudatory speech for the gold award winners in all categories, briefly explaining the reasons for their selection. The Odermatt printing company from Dallenwil won the most prizes, proving that good printed matter requires neither a central location nor excessive size. A medium-sized printer from the Lucerne region said at the subsequent drinks reception that he would also like to take part next time, as he could also produce beautiful printed matter.

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Swiss Print Award

The Swiss Print Award was also presented on April 27 as part of "Power Pur". The most outstanding print products in Switzerland were awarded in four categories. The co-editor-in-chief of m&k, Anna Kohler, hosted the event. Advertisingweek.ch reported on the winners.

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Forum Swiss Print "Power Pur": The optimal mix

The second Forum Swiss Print + Media Industry was held for the first time in collaboration with Galledia Event AG. The partnership between Viscom, which organized the first forum on its own, and Galledia was a complete success, as the Managing Director of the Galledia Group, Daniel Ettlinger, stated with justifiable pride: a successful event with a harmonious atmosphere, a skilful look at the bigger picture, which for once did not focus solely on printing technology, as is usually the case at such events.

The program mainly featured speakers from outside the graphics industry, highlighting unfamiliar perspectives and having a motivating effect in a rather difficult time. In 2021, Galledia took over the event division of the Rhine Valley agency Freicom Partners with the strategic aim of meaningfully supplementing the range of services for its customers.

The showpieces of the new event subsidiary are business forums for Thurgau and the St. Gallen Rhine Valley, which are attended by several hundred participants. In addition to its own events, Galledia also works for third parties for whom events are not an everyday occurrence. There is also a further cooperation with Olma, the top dog among event organizers in Eastern Switzerland. The media company based here is now also active in the Zurich area and as far as central Switzerland. In addition to daily newspapers and specialist media, an efficient printing division and the recently acquired event company, Galledia also wants to venture into regional television in the future. Galledia employs over 400 people in German-speaking Switzerland.

 

She walks ahead of me towards the meeting room, where this conversation is about to take place that will stay with me for a long time. With her blonde hair tied into two side buns and colorful socks lining her ankles, she reminds me of a cross between Lea from Star Wars and Pippi Longstocking. Does the look look familiar? No? That will change, you will get to know her if you are one of the clients or agencies that production companies hire to realize creative ideas for their clients. 22-year-old Mariska van Lavieren founded Navada at the beginning of the year and has already landed several major contracts. "I can't give anything away yet, but the jobs will surprise everyone," she says in a low voice with a smile that seems so confident and knowing, as if she were an old hand in the industry.

"I am not afraid"

Mariska was born in the Netherlands and has been living in Switzerland since 2008. She is a dual citizen, her mother is Swiss and her father is Dutch. The siblings move several times during her childhood. Mariska's childhood was characterized by clear messages, honesty and warmth. "My parents didn't go easy on me, I had to assert myself and believe in myself, constantly reorient myself and get used to unfamiliar places, and that made me strong," she reflects.

"Let's strive together to be the change we want to see in the industry."

After an apprenticeship as a healthcare specialist in Chur, Mariska completed her vocational baccalaureate in design and then moved to Barcelona. She studied Digital Business, Design and Innovation. When Barcelona went into complete lockdown during the coronavirus pandemic, Mariska fled home to Graubünden. Torn away from her studies, Mariska reoriented herself. Graubünden seems narrow, the mentality seems one-dimensional to her, her rebellious heart shows her the way and guides her towards a new beginning. She takes part in a short film, meets Emilie Fischer, an icon of film equipment, and learns a lot about the film and advertising industry. She also learned a lot that she wasn't comfortable with, but her love and passion for producing was ignited and she knew where she was heading from then on. "I've always wanted to work for something I believe in. I knew it could be different, it could be better." She is not afraid. I didn't ask because the word fear is pretty much the last thing I think of when I look at Mariska. But courage, that's what comes to mind.

Why not have your own company?

Mariska takes stock and reflects on all the experiences she has had in the advertising industry. She has been a freelancer and a permanent employee. Conclusion: do it yourself, do it better, "girls to the front". She founds Navada in early 2023. The foundation stone. Structure and purpose are quickly found because they have always been practiced. Fairness, diversity and justice are the cornerstones of Navada. Zero bullshit. Women and underrepresented talents are not present enough in the film and advertising industry. That's why Navada has a core team of four women. A pool of female creatives, directors, camerawomen, screenwriters, photographers and graphic designers are represented on the platform with their CVs, can be booked, but also work for Navada in close collaboration. Of course, men are also welcome - diversity and inclusivity are part of the DNA.

"The creative industry is built on innovation, collaboration and passion. Together, we have the power to bring about change and foster a culture of respect, empathy and inclusivity."

Female role models

Mariska belongs to Generation Z. She and her colleagues cultivate a benevolent, egalitarian and approachable work and lifestyle. They help each other, allow each other to succeed and want to achieve their goals collaboratively: "Women are not taken seriously enough in the industry, the same companies are always pitching for jobs, the advertising campaigns are too 'in your face', the stories are often too one-dimensional, buy, buy, buy is written on the often stereotypical faces of the actors." Bam. That's pretty straightforward. She's serious, for Mariska it's about everything, her lifeblood, her passion for film, advertising, production, justice, inclusion and togetherness. Does she have role models she looks up to? She beams. Her role model is none other than Sophie Toth, Partner & Executive Producer at Shining Film. She is known to a wide audience as the producer of the hit series Tschugger.

Nature as a role model

In addition to role models from the world of production, Mariska swears by nature as a source of inspiration. The sea, in particular, teaches her important skills that she transfers to the business world. Mariska is a surfer. She succumbed to her love of the sea, the waves, the wind and the surfing spirit when she followed her rebellious heart and left the confines of the mountains and the structure of working life behind her and traveled to the coast after completing her training as a healthcare specialist. "Surfing is so much more than water sports, it's a way of life, I've learned patience, watching, catching the right moment, not panicking when you have to go down, nature is fair, it washes you back up. Patience is essential for survival."

Back to Navada

Telling stories is the art of film, Mariska wants nothing less than that. She thinks far outside the box. She uses her international contacts, the many languages she speaks and a heart that knows no borders. Amsterdam, Barcelona, Los Angeles are just some of the connections Navada has built up and whose creative potential, especially female potential, is put to good use. Monthly exchanges, across national borders, lead to creative output and collegial cooperation. Just like Mariska. And the company name: Strength.

And yet it still exists: the printed material. Even though print is constantly disparaged and portrayed as a relic of the past that no longer has a place in the paperless office. It’s hard to find a single good word for print; its advantages are simply swept under the rug. The tactile experience—that wonderful feeling of holding a beautifully crafted printed piece in your hands—is simply gone. Is all that art printed on paper now nothing? Of course, there are also «poorly» printed items that annoy us, but let’s set that aside for now.

Let’s turn our attention to the advantages of print, starting with the technology—which continues to advance in the printing sector—and extending to the beautiful products that have been honored, for example, with the Swiss Print Award. The Swiss Media Association (VSM) also demonstrates the impact of print in an impressive campaign (see the info box with statements from VSM Managing Director Stefan Wabel). Let’s also hear the opinions of renowned production companies that successfully champion print media every day: with efficient technology, comprehensive services, and cross-media offerings—both domestically and abroad.

Advances in Technology

For many printing companies, both the number of jobs and the volume of individual jobs have declined. “Those who primarily handled large-scale projects were mainly affected by the decline in volume, while those who handled many smaller jobs were affected by the decline in the number of jobs,” says Reto Gerber, head of the printing division and a member of the executive board of the Bern-based Stämpfli Group, summarizing the current situation.

«…the advantages are simply glossed over—the tactile experience, that wonderful feeling of holding a beautifully crafted printed piece in your hands.»

Despite a general decline in sales, they have invested in a new inkjet system. This purchase not only brings their production up to date, but also enables more efficient production and higher quality. This also allows them to handle orders in-house that were previously outsourced to subcontractors. Thanks to optimized production, the company can offer lower costs and faster delivery times; «at the same time, well-trained specialists can provide better customer service and advice, find creative solutions to problems, and increase production,» says Gerber, summing up his business philosophy. He therefore describes customer service across the entire value chain as the company’s main competitive advantage that sets it apart from the competition. When asked whether the number of graphic arts companies will remain the same, increase, or decrease in five years, he replies laconically: «As volume declines, the number of graphic arts companies will continue to shrink.»

Keeping an Eye on the Dynamics

Dario Caprarese, a partner at Linkgroup in Zurich, offers a slightly more nuanced answer to this question: Those who do their homework and keep an eye on technological changes will continue to be successful in the future, «because print media still have a strong appeal and offer added value in all areas. Very often, print works best in combination with online; when both are used across media channels, they can fuel each other’s success.»

«I think there will be fewer graphic design firms, unless they've specialized in a promising niche.»

When asked about the company’s own cross-media offerings, Caprarese states clearly: «We view publishing as a whole and … can provide our clients with comprehensive, end-to-end support through our one-stop shop. But this requires that we engage with the client’s entire environment, identify their challenges and needs, in order to pinpoint the best solution.» This calls for trained specialists; for the Linkgroup partner, therefore, properly trained staff clearly take precedence over sophisticated technology; by this, he is referring above all to people «who keep pace with the dynamics of the market.» Technology is important, but it should not take center stage—just as it should not be the case that «winning a contract is decided solely on price.» For one thing, this does not reflect actual performance, and for another, it has an unsatisfactory impact on businesses. The same applies to the graphic arts industry: «Without clear added value for the customer, long-term business survival is not guaranteed,» concludes Dario Caprarese.

«Years of experience, highly qualified staff, and a high level of trust from our customers—all of this speaks to the strength of our industry.»

International competition?

Until recently, the Swiss printing industry was complaining about foreign competition, which—thanks to lower wages and more favorable operating conditions—was putting domestic graphic arts companies under significant pressure. When asked about this situation, Stephan Gartenmann, Head of Marketing and Sales and a member of the executive board at Swissprinters in Zofingen, analyzes the situation as follows: «Neither Swiss competitors nor those from abroad are having a noticeable impact.» And even the proposals in the EU to ban unaddressed advertising are of little concern to this major printer, because «Swissprinters primarily produces periodicals such as publisher magazines, customer magazines … and addressed advertising. In my view, however, such a ban would harm the entire printing market and printed products.» Instead, he highlights the long-standing experience that speaks in favor of the printing industry, as well as a qualified workforce that customers appreciate. He is cautious only when it comes to the final question about the future of the Swiss printing industry: «I think there will be fewer graphic arts companies,» unless they have specialized in a promising niche, he adds.

«Print Works» – the VSM campaign

Through its «Print Works» campaign, the Swiss Media Publishers Association (VSM) is primarily advocating for print media. As VSM Managing Director Stefan Wabel explains, the association is targeting advertisers in particular with this campaign. The goal is to «reawaken awareness of the benefits of print advertising through facts and arguments.» After all, «print advertising continues to have a strong impact … and belongs in the communications mix.»

Although the figures still point in a slightly different direction—according to Swiss Advertising Statistics, print advertising has declined by 33 percent over the past five years. However, Stefan Wabel explains: «The COVID-19 pandemic had a particularly severe economic impact on the media and advertising industries, but advertising revenue is now showing slight growth again.»

This promising trend is now set to gain momentum; the VSM «is—as one might expect—relying on print ads. These have been appearing in our members» publications since mid-March.« The main goal is to combat prejudices against print advertising; among other things, by featuring statements from advertising professionals »who are convinced of the value of print advertising and continue to see many benefits in it.« Although circulation figures for print publications are declining, they are much more stable than is commonly assumed, Stefan Wabel explains in conclusion. And he provides figures to back this up: »Circulation figures for the local and regional press have fallen by only 16 percent over the past 10 years—not even 2 percent per year.” He sees this stability as a significant strength of print media, which the current VSM campaign is intended to highlight.

m&k: David Zwirner, I’d like to look at a painting with you to start our conversation. We asked the Hamburg-based artist Jan Helbig to paint your portrait—the result is «magenta ocker – take 5.» What do you think of the painting?

David Zwirner: At first glance, I see the work of a truly talented portrait painter. I also see a younger… and a friendlier version of myself. I look nice, and that’s how it should be, right? (laughs)

 

I sense a certain tension between the golden part of your face and the part that blurs into the distance. On the one hand, there is the «mega-gallery owner,» who is said to be incredibly powerful—that, much like the mythical King Midas, everything he touches turns to gold. And then, on the other hand, there is a person who steps so far back from his work that he is barely recognizable. Is that the great dialectic of your life?

The idea of «being powerful» has always struck me as a bit controversial. What exactly is that supposed to mean? Sure, we work in a competitive industry, and like all our colleagues, we have to set goals that sometimes come with problems and challenges. For the most part, we’ve been able to navigate these challenges wisely and have, so far, successfully achieved the goals we’ve set for ourselves. Our global presence has grown significantly over the years, and we represent some of the most influential and important artists on the planet. We also have the ability to directly influence certain distribution channels in the international art market. If that’s the definition of power, then I accept that label—provided one is aware that there are an enormous number of things that lie far beyond our control as a gallery. Let’s say, for example, that someone we represent is going through a creative crisis—then I can only do my best to be «there» for that person. But I can’t use any kind of influence to make the crisis disappear into thin air.

«Art is the most profound expression of the ‚conditio humana‘—that's why I love my work so much.»

 

You don't particularly like the term «megagalerist» either, do you? At least, that's what you've said publicly on several occasions.

I assume the statements you’re referring to are already a few years old. I didn’t like the term back then; I still don’t particularly like it today. I think it’s a gross oversimplification of what we do. It makes it seem as though we’re a supermarket that sells art. But what we do is incredibly multifaceted. The term «megagallery» fails to recognize the fact that we work with extreme attention to detail and that our work is made up of very different components. Furthermore, it lumps all so-called “mega-galleries” together, which leads the public to hold me partly responsible for every misstep my colleagues make. (laughs) I would prefer it if we were recognized more for our individuality—including in media coverage. That said … one certainly cannot deny that the term «megagallery» has now entered common parlance and is used all the time. So is it worth continuing to fight against it?

 

You just said it yourself: Your work is incredibly multifaceted. Can you explain to me which aspect of your work the outside world doesn't fully appreciate?

We are a gallery focused on our artists. We represent creatives—either exclusively or in collaboration with colleagues around the globe. We exhibit their works; we sell them. But—and here comes the part of our commitment that I think very few people notice—we also take care of everything else that concerns our artists. Whether they’re facing difficulties during the production of their works, worrying about the logistics of an opening reception, or pondering the commercial aspects of their practice… we’re there for them. We also help them initiate and foster critical discourse about their work, as well as secure placements for their works in public institutions. And then, of course, we take care of the artistic legacy—beginning during the artist’s lifetime and continuing beyond their death. All of this takes a great deal of time and resources, and we need a large number of staff members to maintain this level of «care work.» I like to compare our organization to a talent agency—I have wonderful clients in Hollywood who work at such agencies. And when we talk, we realize: the challenges are almost identical. We have to attract talent, nurture it, ensure that it can flourish freely… and make sure that their careers are built for the long term.

 

I have to admit: I, too, had imagined your work to be a little less complex.

You never stop learning. (laughs) There’s something else that’s often overlooked by people who aren’t very familiar with the art world—and I’d like to point it out: There are actually two art markets. A primary market, where all the things I described above take place; and a secondary market, which is primarily about reselling works. The secondary market is dominated by auction houses, although major galleries are also very active there. Art auctions always attract a lot of attention, and that’s why—at least according to my hypothesis—many people think that the primary market, too, revolves primarily around buying and selling. Money is the lowest common denominator; almost everyone can visualize what financial transactions entail. Aesthetic concepts, the curation of exhibitions, or scholarly discourse on art seem less tangible.

 

Then let's not talk about the lowest common denominator—money. Instead, let's talk about what we were doing just now as we looked at your portrait. We've started a dialogue that was sparked by a work of art. Do you think that's the most important purpose of art?

Now let’s venture into the realm of philosophy. Into the realm of questions such as: What is art? Why does art exist? These questions are extremely difficult to answer. The most comprehensive—and also the most radical—answer would probably be that the entire history of humanity has been shaped by the fact that we are capable of being creative. The fact that we can create something beautiful out of nothing, that there is a creative spark that transforms into a brilliant idea… has made us, Homo sapiens, what we are today. Art is the most profound expression of our «conditio humana,» and that is why I love my work so much. Every day I work with creative people who constantly reveal to me what it means to be human. They never cease to surprise me. I feel privileged that this is my life’s purpose.

 

I like that, after all these years in this business, you've retained the openness to let yourself be surprised.

If you work in the art world and find yourself becoming complacent because you think you’re too «experienced» … then it’s probably time to retire. Curiosity is essential. You have to maintain the desire to seek out and find things that move you.

«Every great work of art can spark a process of analysis and reflection—and at the same time be breathtakingly beautiful.»

 

Speaking of which: Are you more «moved» by aesthetic beauty—or by works that require an intellectual approach?

I believe that great art is equally about aesthetic perception and intellectual reflection. It’s not a matter of either/or, but rather both/and. The theory of conceptual art—that is, art based on a strongly intellectual approach—seems to me to have gotten stuck somewhere in the 1970s. Every great work of art can spark a process of analysis and reflection—and at the same time be breathtakingly beautiful. Gerhard Richter, who has just joined our gallery, is a perfect example of this.

 

That’s an interesting point you make: Gerhard Richter, the most renowned living German artist, has chosen your gallery to exhibit his new works—after having been represented by another gallery for several decades. What led to such a—truly epoch-making—change?

Gerhard had long been convinced that he wanted to start a new chapter in his career—which has spanned more than six decades—and that this would require a partnership with a new gallery. Of course, an artist of Richter’s caliber could go to absolutely any gallery in the world, and he would be welcomed with open arms everywhere. So why did he choose Zwirner? Ultimately, it comes down to context: What is our gallery’s DNA? Who are the other artists we work with? Are there points of connection with Richter’s work? And if the overall picture fits, then such a change can take place.

Not only do you represent numerous living artists, but over the years you have also taken on the administration of an increasing number of estates. Is there a particular fascination in working with the «entire body of work» of deceased artists?

Well, when you work with living artists—especially young artists—it’s your job to help them find their place in the canon. You support them in finding their niche within art history and establishing a unique position. When you take on responsibility for a major estate, that part of the work is already done. There’s no question as to whether someone like Dan Flavin is part of art history or not—there’s more than enough evidence for that. Every major museum exhibits his works, and he is represented in many important collections. The question is rather: What comes next? How do we ensure that his work remains relevant for future generations? You’ll recall that we were just talking about the primary and secondary markets. I find it very exciting to talk to clients who are looking for a specific work for their collection—or who want us to find the right home for a work they’d like to part with. When you work with estates, you’re immediately «drawn into» the secondary market because you essentially serve as a «gatekeeper»—it’s exciting, meaningful, and, not least, good business.

 

You just said that it’s sometimes important to find a «good home» for a work of art. What criteria do you use when doing so?

Here, too, we must distinguish between the primary and secondary art markets. When we plan an exhibition of new paintings—such as the Elizabeth Peyton show we’ll be presenting in London in June and July—it’s our job to ensure that these works of art find the best possible «homes.» These are major collections or museums that help advance the artist’s career. It would be counterproductive to sell one of the paintings to someone who views it merely as an investment and plans to resell it in a few years to make a profit. On the secondary market, however, a variety of factors come into play: Are our gallery’s clients seeking a quick sale because they need liquid capital? Or has someone inherited art and, while not wishing to keep it, is willing to wait until buyers are found who appreciate the work’s significance? It varies from case to case.

 

Does it actually give you pause when major works of art are purchased by people who effectively «take them out of circulation»—and thus deprive the public of any opportunity to experience these works firsthand?

I’ve been in this business for too long to presume to pass judgment here. And since your magazine is a business magazine, let me emphasize one thing: Art, no matter how you look at it, can indeed be a phenomenal investment. Especially if you view it as an asset that appreciates in value over several generations. But here’s the thing: That’s only true if you make good decisions when building your collection and are willing to wait a few decades. If you buy a painting today and put it back on the market in two or three years, it’s like gambling. If you think in the short term, you’ll fall prey to fads; you’ll succumb to fleeting trends or buy something that received positive reviews in art magazines. And then… you’ll wake up one morning and realize you’ve lost a fortune.

 

We've already talked at length about artists. Do you actually have any favorite customers?

I like people who collect simply because they want to. People who are passionate, who buy art to enrich their lives—and who hardly give a thought to whether or how anything might sell in the future. For me, as a gallery owner, that’s probably the best foundation for a joyful collaboration.

«I know that self-doubt can gnaw at people even when they've just had a huge success with a show.»

 

Let's say someone is successful in their career, has some money to spare—and wants to start building an art collection. Where do you even begin?

My suggestion: Visit Art Basel. Take your partner with you, invite friends, go alone—on opening day or even on the second or third day of the fair. Try to be as open-minded as possible, but at the same time set a financial limit for any purchase you’re considering. And then follow your instincts and go with what «feels right.» I’ll be completely honest: You might end up buying a terrible piece of art (laughs), but even that isn’t necessarily a bad starting point for a collection. Some of the most prominent collectors I’ve visited in recent years have a room somewhere in their home where a terrible painting hangs. And then they say, «That’s the first painting I ever bought!» … But things turned out differently after that; they got better. And if your first purchase is already a «hit,» so much the better. Then the artwork truly transforms your home. You walk past it every day. You look at it, and the work reveals more and more of itself. That, in turn, sparks your curiosity; you want to learn more, understand more, and perhaps, in the end, buy more. Collecting art is a wonderful passion. Plus: Once you enter the art world, you travel to wonderful places for the Biennale or Documenta, meet incredibly interesting people, and have the most stimulating conversations. It’s so much nicer to be part of this world than not to be.

 

I can imagine that, but I couldn't afford the things I like. So I can't be part of the art world either, because …

… I’m sorry to interrupt you here. That’s not how I meant my earlier statement to be understood. Being part of the art world doesn’t necessarily mean buying art. Hardly anyone talks about it explicitly, but we galleries provide a great service to the public: we all display our artists’ work for free. You can walk into any gallery in the world—whether ours or our competitors’—without spending a single cent. Even if you visit hundreds of galleries in your lifetime and never buy anything, no one will hold it against you. The art world is far more inclusive than is sometimes claimed. Please forgive me for this brief monologue, but this is something very close to my heart.

Is it true that you almost didn't become a gallery owner—but were planning a career as a famous jazz drummer instead?

I never planned to become famous, but: Yes, I left my hometown of Cologne as a young man to study jazz in New York City. I got far enough to perform with phenomenal musicians in front of large audiences, but I realized that—at the end of the day—my talent had its limits. So I decided to change careers. Looking back, that was probably a good decision.

 

Do you still own a drum set?

Yes, I have one. (laughs) I’d say playing an instrument is no different from riding a bike. Even after years, you still know how to do it, but you lose stamina over time. I wouldn’t be able to play a one-and-a-half-hour set today. However, while studying jazz, I learned something else that helps me every day: namely, that extraordinary creativity usually goes hand in hand with extraordinary insecurity. That sounds counterintuitive, but it’s true. Artists are inherently insecure. I think being able to truly empathize with that helps me in my work. I know that self-doubt gnaws even at people who’ve just had a huge success with a show and are being praised to the skies by critics. That’s where I can step in and try to help.

 

As someone who curates exhibitions, promotes artists, and helps them find their own style, would you describe yourself as a kind of artist?

Definitely not. I have far too much respect for the term and everything it entails to call myself that. I see myself more as an «enabler.» And given the size our gallery has reached, I am also—hopefully—a relatively successful businessman. I lead a team of employees and think about how we can expand in a meaningful way. That’s something completely different from the work of someone who creates something in the solitude of their studio.

 

And yet you are creative, every single day.

Creativity can, of course, take many different forms. Some people use it to create impressive works of art, while others apply it in the business world. Of course, business also requires analytical thinking and pragmatism, but a spark of creativity—a great idea—can be just as important.

 

Allow me to ask you one last question: When was the last time you felt moved—or perhaps even overwhelmed—by a work of art?

Let me give you two examples. The first: A few weeks ago, I traveled to Amsterdam and visited the Vermeer exhibition at the Rijksmuseum. And there was a painting there—Vermeer’s «View of Delft» … He’s often seen as a portrait painter, someone who explores the interdependence of people and space, but «View of Delft» mainly shows the sky above the city. That completely blew me away. (laughs) I felt like I was discovering in that painting the beginnings of what we call minimalism today. The artwork is both aesthetically and intellectually stimulating; I couldn’t stop looking at it. It was an epiphany. For the second example, we have to go back about 30 years: At the time, I’d set my mind on opening a gallery, but first I had to find a portfolio of artists who wanted me to represent them. No artists, no gallery. (laughs) So I visited Documenta in 1992 and saw Luc Tuymans’ paintings for the first time. He was already well-known in his home country of Belgium, but not yet internationally. At Documenta, an entire room was dedicated to his works, and every single one of them puzzled me… in a good way! I knew I had to convince him to join the gallery I was planning to open. I met with him three times and practically begged him until he finally agreed. We’ve been working together ever since—that is, my entire professional life. A few days ago, I saw some of his new works, which we’ll soon be exhibiting in New York. And I was suddenly very moved—not just by the works themselves, but also by the fact that the two of us have been doing this together for three decades. The fact that something like this continues—and there’s no end in sight—makes me realize: I’ll probably never tire of doing what I do.

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David Zwirner (b. 1964) is a German-American gallery owner, art dealer, and philanthropist. Born in Cologne, he represents many of the most important contemporary artists and has been regarded by industry insiders for decades as one of the most influential figures in the global art world. With locations in New York City, Paris, London, and Hong Kong, Zwirner’s enterprise is one of the four so-called «mega-galleries» (a term he himself does not particularly care for) that dominate the international market.

Swiss companies agree: To be successful in the future, businesses must align their business processes and strategies with sustainability. 79 percent of respondents to the ZHAW’s 2023 «Swiss Sustainability Benchmark» study, supported by the Swiss Association of Advertisers (SWA), agreed with this statement—and two-thirds believe that sustainability is a reality in their industry.

This issue is also becoming increasingly relevant in the communications industry. After all, it’s not just air travel, meat, or fashion that have an impact on the environment. Advertising also leaves its mark—whether during the creative process, when large teams fly halfway around the world in search of the perfect location for a campaign shoot; during the production of media such as posters, brochures, or print mailings; in logistics; in the production and distribution of video and online ads; and in numerous other areas. And it all adds up: «In Switzerland, we produce around 37 million metric tons of CO2 per year. At 50,000 metric tons, advertising accounts for only 1.4 percent of that total, but it fundamentally encourages people to consume more. And consumption is the biggest driver of CO2 emissions,» calculates Rolf Suter, a partner at Mediaplus Suisse. The agency, which sees itself as a pioneer in sustainability, has been climate-neutral in Switzerland since 2021 (in partnership with Serviceplan) and is developing sustainability standards for the market as well as sustainable media products. After all, there is no industry standard. The Green GRP could provide a solution; through this initiative, the agency gives advertisers the opportunity to calculate the emissions from their campaigns and offset them through certified climate protection projects from Climatepartner. Any market participant, including other agencies, can join the initiative, but the concept of advertising’s carbon footprint has not yet fully taken hold in the industry. «Although the topic is omnipresent, we’re still in the early stages and are working every day to voluntarily raise awareness,» says Suter. This is confirmed by figures from the ZHAW: While 45 percent answered “yes” to the question of whether a media channel’s carbon footprint plays a role in media selection, However, this also means that more than half (55 percent) believe that sustainability is not, or rather not, a decisive factor in choosing a channel.

A New Industry Standard

But things are starting to move forward. At this year’s SWA annual meeting, for example, the focus was on «Green Power for Advertisers»—sustainability in marketing and communication.

«Advertising also leaves its mark—in creative work, logistics, and production.»

This also includes the Green Media Switzerland initiative, launched in 2022, a broad alliance of Swiss agencies and advertising service providers that collectively advocate for a new standard in the communications industry. The members—Mediaplus Suisse, Webrepublic, Dentsu Switzerland, Livesystems, Group M (EssenceMediacom, Mindshare, Wavemaker), Wirz, Hellermeier, Evoq, KSP, Publicis, Dept, Drop8—are committed to reducing their operational CO2 emissions and fully offsetting any remaining emissions, and offer their clients the option to calculate and offset the emissions from their campaigns. In doing so, Green Media directly supports the advertising industry’s global climate initiative «Ad Net Zero,» which aims to reduce the impact of advertising development, production, and operations to net zero. Green Media co-founder and Webrepublic partner Tobias Zehnder is pleased with the progress: «One year after the initiative was founded, it has become clear that the decision was absolutely the right one: We’ve doubled our membership and have actively helped the industry place sustainability high on the agenda and identify practical ways to implement it. Both the SWA and the LSA have now declared sustainability a key focus for 2023. We are very pleased with this positive momentum, and it compels us to continue steadfastly on the path we have chosen.»

«We're running out of time»

This educational approach is certainly the right way to go. After all, the issue also involves costs. «Depending on the medium and type of offsetting, the surcharge for climate-neutral advertising ranges from 0.4 to 0.6 percent of the gross volume—for an annual budget of CHF 2.5 million, that amounts to just CHF 10,000,» says Suter. «Advertisers pay the surcharge.» Nevertheless, only 18 percent of respondents in the ZHAW’s «Sustainability Benchmark» survey indicated that they could imagine running climate-neutral advertising and paying for it. While 30 percent support climate-neutral advertising, they believe that channel and media providers should cover the costs within their own sectors. 31 percent believe that CO2 emissions should generally be reduced or avoided, and 21 percent view offsetting as a form of «indulgence trading.».

«We simply don't have enough time to cut emissions through reduction and avoidance alone.»

Vanessa Müller, managing director of Climatepartner Switzerland, hears this often as well. She explains: «Offsetting should never be viewed as the sole measure. Focusing on carbon footprints, offsetting, and climate protection projects generally strengthens the fundamental awareness among relevant stakeholders of the need for climate protection and leads to the identification of potential savings and reductions.» But there’s another aspect to consider, says the expert: Offsetting channels vital financial resources into climate protection, which urgently needs them. Climate protection projects help combat global warming and promote sustainable development in the project countries.

Of course, reducing and preventing emissions is the better option. But, as Rolf Suter says: «We simply don’t have enough time to cut emissions through reduction and prevention alone.»

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Here's how Climatepartner calculates the impact of advertising, using a billboard campaign as an example

Billboard advertising generates CO2 emissions in many ways: through the production of the backing material, the creation of the design, the printing process, and the installation and logistics. Illuminated and/or motorized billboards consume electricity. The campaign kicks off with the team’s deployment: The advertising photographer, set designer, possibly models, makeup artist, etc., travel by minibus to a photo shoot. The combustion of fossil fuels for the trip is taken into account, as are electricity consumption and heating costs during the shoot and during post-production at the agency. After paper is produced, electricity and heat are used for the poster printing process. Fossil fuels are also used during their transport to the display locations. The number of poster spaces booked and the booking duration in days are also factored into the calculation. Once these CO2 emissions have been calculated, the advertiser receives a report that serves as the basis for measures to reduce emissions. Emissions that cannot be further avoided are offset through a financial climate contribution to a certified climate protection project.

There’s a saying—I can’t remember when or where I first heard it—but it’s stuck in my mind and keeps coming back to me. The saying goes: «If you want to create value, you have to show appreciation.» Yes, that might sound a bit precocious—but I still think there’s a lot of truth in those words. They get right to the heart of what matters in the relationship between employers and employees.

But employee appreciation is a tricky thing. How exactly is it expressed? Some people think it’s through bonuses, because at the end of the day, money is what matters most. Others say that a fruit basket and free yoga classes, along with an annual «Well-Being Day,» serve the purpose just as well—if not better. While I have nothing against bonuses for outstanding performance, nor against fruit, yoga classes, or «Well-Being Days,» our appreciation for our employees must not stop there. Especially in the agency industry—but also in many other fields—an enormous amount is demanded of people. Value creation must be extremely high, so appreciation must keep pace. To value someone means recognizing that person in their entirety—rather than viewing them merely as a «human resource» (as, unfortunately, is still all too often the case). And here lies the key; here lies the solution to the question of what appreciation actually means: The term means giving someone the absolute assurance that they are allowed to be human—with all the strengths, but also with all the «weaknesses,» that this implies.

I’d like to give you an example: In January, Publicis Groupe unveiled the «Working With Cancer» initiative at the WEF in Davos. Following the public announcement by our global CEO, Arthur Sadoun, that he has cancer, we decided to pay employees with serious illnesses (cancer is one example and the focus of the initiative, but it is of course not limited to that) their full salary for one year if necessary; even if they are unable to come to work. This goes far beyond the legal requirements in many of the countries where we operate.

In this way, we are helping to destigmatize illness in the workplace and supporting those affected in their daily lives, and we hope that the momentum behind «Working With Cancer» will continue to grow. The initiative is already supported by dozens of globally active partner companies. For leaders, this means not only factoring the financial costs of absences into the budget—but also adjusting their mindset. I, too, get a queasy feeling when I know a team is already under a lot of pressure—and then someone else has to take time off. But I need to be able to step back mentally from the situation for a moment and set my emotions aside. I have to ask myself, «What’s this really about?» And I have to find a way to support that person. If such a culture takes hold—even at the risk of sounding overly idealistic—then companies can become a «safe space.» A place where everyone feels safe; where everyone gives their best. Precisely because they know: People here don’t just want me when I’m doing well—they also support me when I’m not.

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Alexander Haldemann, the author, is CEO of Publicis Groupe Zurich.