In German-speaking Switzerland alone, the Coop newspaper 2.5 million readers every Tuesday. If you add the audience from Coop newspaper Weekend Including this, the reach is 3.4 million readers. Reader numbers have remained «at a consistently high level» for about 20 years, according to Silvan Grütter, the editor-in-chief of the consumer magazine. The retail media giant isn’t aiming to reach a specific audience of millions in the near future. «Our goals are not quantitative, but qualitative: long reading times and high reader satisfaction.» Coop Presse regularly has both metrics surveyed by Mafos, and the 52-year-old editorial director says they are very satisfied with the results.

The Coop newspaper «With its large readership, it essentially reflects Swiss demographics,» explains the man who gained nationwide popularity around the turn of the millennium as a TV3 host and producer of the reality show “Expedition Robinson.” Today, Grütter’s print publication reaches slightly more female readers (58 percent) than male readers. In addition, the Coop newspaper shows a peak in the 35- to 55-plus age group.

Other newsrooms can only dream of that

Currently, 22 full-time journalists work for the Coop newspaper and the Coop newspaper Weekend. In addition, there are the staff members in editorial design and production, who also work on the other language editions. All in all, the Coop flagship is powered by about 90 people. The editorial team has the resources and capabilities for in-depth reports and stories that other newsrooms can only dream of. «For example, we still produce larger travel stories ourselves,» explains Silvan Grütter. Scoop journalism is not the business of the ­Coop newspaper. Nevertheless, partners continue to approach the editorial team with exclusive news. Most recently, for example, the Roger Federer Foundation used the Basel print publication to publicize the tennis star’s commitment to children’s playgrounds. That’s why people no longer laugh when he says he works for a retail publication. On the contrary, many of his female colleagues would say nothing at all when they see the readership figures: «Especially not when they see the possibilities we still have here for making a newspaper.» The Zurich native is happy in his role. What pleases the former head of entertainment at the Swiss Illustrated about the feedback from readers that the editorial team receives every week. Grütter also speaks highly of CEO Philipp Wyss, who emphasizes «courage, initiative, and quality.» These, he says, are the prerequisites for a successful future.

We ask Silvan Grütter what the secret recipe is for the retail publication’s proven audience of millions. He says that putting out a newspaper is like cooking: it requires a clear goal, good ingredients, and a team that knows its craft. «Our goal is to produce the most service-oriented, diverse, and best-crafted weekly newspaper in Switzerland,» says the editor-in-chief with confidence as he continues his journey, which has already spanned five years at Coop.

The Marketing and Communications Rocket

After 120 years, the weekly newspaper remains very important to the entire media group. According to Patrick Wehrli, publisher of the Coop newspaper, the print publication is now the company's «most important marketing and communication tool.» «The Coop newspaper »enjoys a very strong foothold as the Coop Group Cooperative’s information outlet.« Markus Graber, Head of Coop Retail Media, also emphasizes the importance of Coop Presse’s Tuesday flagship publication. “The Coop newspaper »It reaches 70 percent of all households in Switzerland week after week and plays a major role in Coop's success." Market research shows that over 50 percent of readers Coop newspaper pick it up to actively find out about the week’s promotions and new additions to the retailer’s product lineup. According to Graber, this is a sign that advertising in this browse-based medium is having a very strong impact.

Thanks to regular surveys, the publication has a very good understanding of its readers' wishes and needs.

Incidentally, Coop places the most ads in its own publication. «That’s true,» confirms the Künten native. For the company, the Coop newspaper It will always be the flagship publication, and there will never be a campaign that isn't also heavily promoted in the company's own publications. Anyone who thinks that the various Coop brands—such as Betty Bossi, Fust, or The Body Shop—place ads in the Coop newspaper It is incorrect to say that they pay only half as much as external advertisers. «Coop and its subsidiaries are generally treated the same as Coop’s business partners when it comes to rates,» the 59-year-old clarifies. Coop Presse operates as an independent profit center within the group.

How much does a full-page ad cost?

A page of advertising in the Coop newspaper, which reaches 3.3 million readers throughout Switzerland, currently costs 57,842 francs gross. The retailer then has to deduct the closing discount and the consultant’s commission from that amount. Markus Graber won’t reveal who the top advertising partners are. While flipping through the Coop newspaper However, it quickly becomes apparent that the major food manufacturers and the key players in the cosmetics industry are among the most significant advertisers even in the weekly newspaper with the highest circulation. The advantage for companies that place ads in retail media is «quite clearly» the high reach. This applies both to the Coop newspaper as well as in the Coop themed magazines, which focus on «Easter,» «barbecuing,» or «Advent» depending on the season. Graber, who comes from the publishing industry (TA Media & Ringier) but has been working at Coop for 12 years, also mentions the readership’s strong affinity for shopping behavior: «We’re a consumer magazine that provides information about promotions and new products in the preferred shopping channel.» In this way, Coop communicates clear shopping benefits as well as shopping experiences—all within an editorially appropriate context featuring engaging articles about the Coop shopping channel and all its non-food formats.

How the Coop newspaper We at Chef Retail Media would also like to know how you plan to further develop the publication so that it reaches all target audiences in the future. «With a readership reach of over 60 percent, we’re already reaching all target groups today,» explains Markus Graber. In recent years, the free newspaper has placed a special—including editorial—focus on families and cooking enthusiasts. Thanks to regular surveys, we have a very good understanding of our readers’ wishes and needs, adds Patrick Wehrli, head of Coop Content House. We are constantly adapting the newspaper’s editorial concept accordingly. In addition to Tuesday distribution to households, we would use the Coop newspaper Weekend reach an urban and mobile audience on Friday as well. «And with the digital magazine Scoop! »Let's focus on what's known as Generation Z—our readers of tomorrow."

«I assume that it's the Coop newspaper »will be around for a long time yet"

Patrick Wehrli is the head of Coop Content House and the publisher of the Coopzeitung. He discusses challenges, opportunities, and a comparison between the Coopzeitung and Migros-Magazin.

And what do you like about the Coop newspaper What works best for you personally as a reader?

The whole package—the positive aspects, the surprises, and the inspiration—and the fact that, among the wide variety of contributions, there’s always something that speaks to me personally and adds value to my everyday life.

What does that do? Migros Magazine Better?

The Migros Magazine takes a different journalistic approach. In that respect, the two publications are not directly comparable.

Where did the Coop newspaper compared to the Migros Magazine A step ahead?

In terms of household reach and the number of readers, the Coop Newspaper The clear leader.

Paper, energy, and delivery costs are squeezing margins. Will ads in Coop Presse soon become more expensive for advertisers?

Our costs have indeed risen sharply in recent months due to the tight situation in the paper market. However, we still have no plans to raise prices.

How long will it take for the Coop newspaper – in an era of declining print media – still exist?

The Coop newspaper has enjoyed a very loyal readership for decades. It is successfully positioned as a lifestyle magazine and a source for browsing, is unique in its genre worldwide, and is firmly anchored in the daily lives of its readers. Readers appreciate the mix of information, entertainment, and concrete offers, as well as the magazine’s service-oriented nature. In this regard, I assume that the Coop newspaper will be around for a long time to come—maybe even another 120 years …

m&k: Livio Dainese, why is Wirz launching this? Center of Excellence for Sustainability?

Livio Dainese: We’re generally a rather low-key agency. But since we’ve already accomplished a great deal in the area of sustainability communications, we understand the uncertainty companies feel about how to go about it. The public is right to take a critical look at products, offerings, and services that tout their sustainability.

Johanna Gollnhofer, how did your collaboration with the HSG come about?

Johanna Gollnhofer: We act as a sounding board. As a university, we obviously do not offer consulting or services, but we help provide a solid theoretical foundation for the topic. We benefit from the agency’s expertise, and Wirz can provide a theoretical basis for its workshops on sustainability communication. We are collaborating with Wirz on a study on this topic, which will be published next year.

What are the biggest challenges in the area of sustainability that customers face?

Dainese: A company has to make a choice. They often put on clothes that don't fit them perfectly. Consumers see that immediately and then the company is not credible. Only ruthless honesty can help. That's where we help.

Gollnhofer: It’s always a process. What company is 100 percent sustainable? But if my customers believe me when I say I’m making a sustainable effort, they’ll view it positively. If they don’t believe me, though, accusations of greenwashing quickly follow. It all hinges on this linchpin of credibility. You also have to ask yourself: What’s relevant to my target audience? Sustainability is a word that everyone defines differently. For some, sustainability means animal welfare. For others, it’s more focused on supply chains. Customers need to ask themselves: What are the sustainability goals that align well with my brand and are also relevant to my target audience? It’s about breaking down this abstract term into something concrete.

How can you talk about sustainability without making it sound like a burden or making people feel guilty?

Is sustainability still on companies' agendas? Right now, completely different issues are dominating the scene.

Dainese: Of course, the focus has shifted for now. You can tell. But our commitment remains. It’s incredibly important to me personally that we all stay the course. There will always be crises—and I’m not downplaying the current situation—but that can’t stop us from taking action.

Let's get back to Wirz's Competence Center. What does it offer your customers?

Dainese: On the one hand, we offer workshops where you can learn how to position yourself—how you can, want to, and should. That’s a crucial foundation, but positioning alone doesn’t accomplish anything. We can also handle the communication. This is where we make a difference, because we know exactly what works out there—and, above all, which messages and what tone resonate with the target audiences.

What are your thoughts on the word “sustainability”?

Dainese: The word is everywhere and means everything or nothing at all. I think the biggest challenge in communication is how to talk about sustainability without making it seem like a burden or making people feel guilty. That’s the main task of communication: to convey, at its core, what the brand wants to say in a way that I, as an ordinary person, can understand and want to be a part of.

Gollnhofer: I agree. Sustainability is often presented in a serious and heavy-handed way. And we all know how to motivate people: through lightheartedness, humor, and fun. I feel like brands often lack the courage to take a more playful approach to the whole thing.

Prof. Dr. Johanna Gollnhofer is the director of the Institute for Marketing & Customer Insights at the University of St. Gallen (HSG), and Livio Dainese is co-CEO at Wirz.

The days of the Eastern Bloc’s stuffiness are long gone. In the 1960s, the Romanian automaker Dacia manufactured various Renault models under license—and went largely unnoticed in Western Europe. Then, in 1999, a new era began: Renault acquired a majority stake in the Mioveni-based automaker in Greater Wallachia and breathed new life into it. For years afterward, however, the brand remained in the West primarily just the Renault Group’s budget brand.

Gradually, however, Dacia gained more and more recognition, as the two production plants in Mioveni and Pitesi produced vehicles that were not only affordable but also held their own in terms of quality. Yet, thanks to its net pricing policy, Dacia always remained the brand offering the most attractive value for money. What’s more, the resale value of a Dacia model is, on average, about ten percentage points higher than that of comparable models from other manufacturers.

Increased market share

Today, Dacia is one of the most successful brands in several European markets. In the first eight months of this year, the Romanian automaker recorded 2,441 new registrations in Switzerland, a 19.5 percent increase compared to the same period last year. This makes Dacia one of the few manufacturers to post better figures in 2022 than in 2021. Since the overall Swiss market declined by 11.7 percent from January through August compared to the previous year, Dacia was able to increase its market share in Switzerland from 2.3 to 3.2 percent with its current sales figures. The brand also notes that its models are increasingly appreciated by financially well-off customers who spend their money wisely and consciously avoid excessive consumption. As a result, Dacia plans to expand its model lineup without neglecting its commitment to affordable mobility.

As CEO Denis Le Vot recently announced at the Dacia Brand Manifesto Days in Paris, the brand identity is being refreshed across all current models simultaneously: «Year after year, Dacia attracts new customers who are looking for what is perhaps most valuable in today’s world: the essentials. These customers want a rational, responsible company and have a new perspective on the car. They are interested in models that combine space, comfort, and style with maximum affordability. That’s Dacia.»

Design Evolution

As part of Renault’s «Renaulution Strategy,» unveiled in January of last year, Dacia is now ushering in the future with strategic measures and an evolved design. The plan includes further increasing competitiveness and expanding the model lineup into new segments. To appeal to an even broader customer base, the new brand identity incorporates a fresh logo, additional design elements, and new body colors.

The Bigster Concept offers a first concrete glimpse into the brand’s future design direction and is said to already closely resemble the design of the upcoming production model. The Manifesto concept, unveiled for the first time in Paris, also features entirely new design and equipment ideas. This vehicle for off-road adventurers, stripped down to the essentials, builds on the brand’s classic values of simplicity and economy. Since it has neither doors nor windows—and even the windshield has been omitted—the Manifesto is sure to deliver an unfiltered open-air experience.

With new trim levels for its production models and an expanded range of accessories, Dacia aims to provide greater support for outdoor activities. To this end, the company is developing, for example, special camping kits and various mounting systems for bikes and roof boxes. Also part of the new model lineup is the increased use of recycled plastic materials for add-on parts and body protection components.

Lean solutions wherever possible

Although Dacia has always made it a point to offer its customers «the essentials,» what constitutes “the essentials” changes over time. Unlike today, for example, air conditioning was not considered indispensable twenty years ago. Multimedia systems are also part of the standard equipment today. But Dacia is taking its own approach here: Instead of multiple screens in the cockpit, the brand’s Media Control System provides a quick way to pair your personal smartphone with the vehicle to access all essential multimedia functions.

New approaches are also being taken in customer service. The restructuring of the dealer network began earlier this year with new showrooms designed to be flexible and environmentally friendly. In addition, as part of the rollout of the new brand identity across its vehicle lineup, Dacia will introduce a new augmented reality app for smartphones and tablets starting in October. «Dacia AR» already showcases the brand’s models with a fresh look, from every angle, and in various settings.

The trade show and event industry experienced a veritable boom in the summer of 2022—partly due to the postponements of events caused by COVID-19 and the resulting clustering of dates. «We’ve never been this busy,» says Alessandro Ianeselli of the creative agency Gruber & Ianeselli. Business is also booming at Messerli Live. «The fall 2022 season of trade shows and events has us feeling very optimistic. We’re practically fully booked,» says Daniel Wyss, sales manager at Messerli Live. «What’s particularly encouraging is that we’re also gaining momentum with business in our newer business units, such as Brand Spaces and Digital Experience.»

The search for experienced professionals is challenging and difficult. «Currently, however, our team is at the same level as it was before the COVID-19 pandemic,» says Michael Dancsecs, a partner at the event agency Standing Ovation. Jeannette Bours, COO of Gruber & Ianeselli, adds: «Staff turnover was high in 2021. It’s not pleasant to have to watch team members move on.» And Carole Ramuz, owner of the event agency Brand Soul, sums it up this way: «Personnel policy isn’t easy to manage due to differing views and fears during the COVID-19 pandemic. Thanks to the federal government’s measures, however, we had hardly any departures.»

And what about the trade show organizers?

The live events industry can therefore look to the future with renewed confidence in the wake of COVID-19. But what about trade show organizers? The Bernexpo Groupe was plunged into a difficult financial situation by the pandemic. Thanks to short-time work benefits, however, staff reductions were kept to a minimum. The «BEA» and «Blech» trade shows, held for the first time since 2019, even drew record-high visitor numbers in 2022. The «Spacio 23, new trade fair for interiors»—formerly «Heimtexsuisse»—was launched.

In early 2021, Olma Messen had announced that it would be discontinuing two of its own trade shows. This decision also involved staff reductions. However: «Since the resumption of the trade show and event business, we have already been employing more staff than we did in early 2021,» says CEO Christine Bolt. A new trade show for gastronomy and hospitality, «Gastia,» has even been launched.

Is the event industry once again facing the prospect of event bans?

The MCH Group is relatively optimistic about the «busy» fall trade show season of 2022. «We’ve noticed that recruitment has become more time-consuming and takes longer in certain areas, though this is by no means limited to the live communications industry. We expect that all of our events will be able to take place as planned,» says their press officer, Emanuel Kuhn. Claude Membrez, CEO of Palexpo, explains the situation as follows: «We’ve lost about 20 percent of our staff. Now we want to replace them, but it’s not easy to find good people.» Daniel Wyss, sales manager at Messerli Live, puts it this way: «The staffing situation remains challenging. We reduced our workforce only minimally during the pandemic, and we’re glad we did. We’re now practically back to full strength.»

The situation among installation staff remains tense. Similar to the restaurant industry, numerous employees have moved to other sectors during the prolonged work restrictions caused by COVID-19. Urs Bischoff, owner of the trade show construction and digital printing company Bexpo in Marthalen, sees neither a crisis nor a need for action. «We hired six people in 2022. Our top priority is to serve our existing customers well. The staffing shortage will resolve itself in 2023 once the current surge in trade shows and events subsides,» he concludes.

When the Wind of Orders Changes Direction: From a Buyer's Market to a Seller's Market

The labor shortage is creating an entirely new situation in the industry. Where there used to be fierce competition among service providers —exhibition stand builders, event agencies, and media technology providers—that was often driven by price, today most service providers are no longer accepting new clients due to the rampant staffing crisis, as they can barely make ends meet with their regular clients alone. «We want to serve our loyal regular clients first,» emphasizes Daniel Wyss. «We’re always happy to consider new clients, but many inquiries are currently falling through because of short notice or unrealistic budgets. Live-Com projects are more expensive today than they were before the pandemic; this reality hasn’t sunk in everywhere yet and is only slowly becoming accepted.» «Since we’re reluctant to turn down new inquiries, we find ourselves in a complex situation. We therefore reject requests that exceed our resources from the outset,» says Carole Ramuz. «We try to accommodate all requests, but there have been instances where we’ve had to turn down requests or refer them to suitable partners,» confirms Michael Dancsecs. Conclusion: For the first time ever since the boom in the events industry in the 1990s, trade show and event service providers are in the driver’s seat when it comes to their offerings. «We expect our clients to increase their budgets in 2023. Studies have shown that trade show and event activities have in some cases become up to 49 percent more expensive than in 2019,» estimates Michael Dancsecs.

Is the trade show and event industry heading for its demise?

Christoph Kamber is president of the industry association Expo Event Suisse LiveCom Association. Since the onset of the COVID-19 pandemic, he has been actively lobbying regional and national policymakers. Since then, the live communications industry has received the necessary attention from the public and policymakers for the first time. But now the next challenge—comparable to COVID-19—is looming, and it’s called an energy shortage. «Every day, our association receives numerous calls from member companies who don’t know what will happen to the permits for their fall events and the advance payments they’ve made if we suddenly face a power shortage this fall,» says the president of Expo Event. He adds: «It would be naive not to prepare now for potential scenarios.»

As he did during the COVID-19 pandemic, Christoph Kamber is preparing for the worst-case scenario by working with the newly formed alliance of numerous associations in the events sector. As an alliance of associations, they will proactively reach out to policymakers and key federal agencies to ensure their concerns are heard in a timely manner. Is the event industry once again facing the threat of event bans? «I don’t think it will come to that, because we’re in a different situation than the one caused by the pandemic. After all, our industry is no longer facing a threat to life and limb,» says Kamber.

REQUESTED

«Wages are rising due to labor shortages»

Coople is Europe’s largest digital platform for temporary staffing in the healthcare, food service, hospitality, retail, aviation, logistics, events, and promotions sectors, as well as in the commercial sector. Yves Schneuwly, Group Chief Commercial Officer, on the dramatic labor shortage at trade shows and events.

m&k: Yves Schneuwly, what damage has the pandemic caused to trade show and event companies and to Coople as a job hub in the live communications sector?

Yves Schneuwly: Understandably, the trade show and event industry has suffered greatly. At Coople, we were able to respond quickly during the pandemic and offer our temporary employees prompt job alternatives, not least in the fight against the pandemic, at testing and vaccination centers.

Staff departures during the pandemic are now leading to other staffing issues. What is your take on this?

Staffing shortages are occurring because, now that the pandemic has leveled off, too many large-scale events are being held simultaneously within a very short period of time. Coople’s digital approach and its pool of over 500,000 workers often enable us to quickly fill open positions.

To what extent does the labor shortage lead to higher prices in the trade show and event industry?

The shortage of skilled workers is also a hot topic in the trade show and event industry. We’re seeing changes, particularly among skilled workers, who are in even higher demand—for example, event technicians, service staff, and chefs who work at trade shows and events. Hourly wages are rising in this sector because these sought-after workers automatically have more job options to choose from.

The atmosphere was relaxed, the venue was fitting for the ceremony, and even the room’s name was appropriate: This year’s Swiss Print Awards were presented in the Papiersaal at the Sihlcity Center. Even though print no longer shines on its own in the media landscape—and advertising often gives print a wide berth—print still holds an important place in Switzerland. As Thomas Wildberger, who was just named president of the Art Directors Club Switzerland and is a partner at Prophet—a firm that advises companies on growth and transformation issues—puts it: «Precisely because it is the only award in the print industry, it carries enormous significance.»

A very emotional medium

For the new ADC frontman, print is a «very emotional medium that has proven capable of producing outstanding work.» It creates something tangible that people then engage with for a longer period of time. And this applies to all forms—whether it’s a brochure, an annual report, a book, packaging, or a magazine ad: the product has a much longer shelf life. «We owe it to this medium to treat it creatively.» This assessment of the Swiss Print Award from such an authoritative source carries great significance, as the ADC sets standards in advertising with its award (the legendary ADC Cube)—not only in Switzerland. The evaluation focuses not only on the advertising medium itself but also on the good idea, as Wildberger assures us: «That’s why I wouldn’t make any qualitative distinctions between the types of advertising media. Of course, one cannot deny that digital channels are receiving more attention. But if everything is focused on them, it’s ideal for a creative professional to flourish in a field where they stand out all the more.» When asked where he would have an annual report evaluated—since this is one of the most important print categories—he says that this is exclusively a matter for shareholders or other stakeholders.

An award with a long tradition

The Swiss Print Award was first launched in 2004 by the trade journal *Druckmarkt Schweiz* as the Druckmarkt Award, as Editor-in-Chief Klaus-Peter Nicolay notes in retrospect. His aim was to whet people’s «appetite for printed materials.» Initially, printers still boasted in their presentations about flashy machines that would produce amazing print products, but this technical perspective soon faded, giving way to work that explored the «possibilities of finishing» and emphasized the «use of tactile papers.».

Publisher Jean-Paul Thalmann was also involved from the very beginning; he took care of the logistics and, above all, sought out sponsors who helped finance the event and produce the brochure featuring the award-winning works, in order to showcase the award-winning printed materials in a fitting setting. Support from renowned equipment suppliers, generous paper dealers, and leading production companies made it possible to professionalize this unique award for printed materials in Switzerland, which then began operating under the name «Swiss Print Awards» in 2013. Today, a jury of several members—all experts from the print industry—evaluates the numerous entries submitted. The new momentum in this nearly twenty-year-old institution was temporarily halted only by the COVID-19 pandemic, but in 2022, the successful course was resumed.

Today, the Swiss Print Award is led by a steering committee chaired by marketing expert Marco Bieri; the submitted entries are evaluated by two female jurors and four male jurors, including Christian Theiler, who heads the jury. He also delivered the laudatory speech for the winning entries at the awards ceremony; the event was skillfully moderated by Anna Kohler, co-editor-in-chief of m&k magazine, who also serves on the jury.

Annual reports are taking a different path

Only one annual report received an award at the Swiss Print Awards. However, this important category of printed materials is also scrutinized elsewhere, most notably by the Harbour Club, the association of leading communications professionals. Jiří Chmelik, Creative Director at Noir Associates, who chairs the design jury for the Swiss Annual Report Rating, acknowledges that the Swiss Print Award sets the benchmark for quality printed materials. «The Harbour Club, on the other hand, provides a more comprehensive overview of the market: … it evaluates the communicative presence … of the 250 largest and most important companies. The rating is based on an assessment of content … and design … The top rankings feature projects that meet the standards of the Swiss Print Award.» Dr. Joëlle Loos-Neidhart, a member of the board of directors at the Neidhart + Schön Group, also speaks highly of the award: «The Swiss Print Award is an important institution that, in addition to raising the profile of the winning companies, conveys an appreciation for the printed product.» She does not see a connection to the Annual Report Symposium she established, which is now also internationally recognized: «The Annual Report Symposium focuses on conveying content and aims to provide companies with inspiration and input for the design of their reporting, whereas the Print Award is an awards ceremony for outstanding print projects and, from our perspective, should be understood more as a reward for the effort and passion involved in the production of the printed product.»

Swiss Print Award: The Categories

1. Books: The Books category honors book projects that are groundbreaking in terms of design and production techniques.
2. Printed Matters: This category recognizes printed materials such as invitations, cards of all kinds, brochures, forms, flyers, posters, etc.
3. Publications: This category recognizes works such as magazines, customer magazines, etc.
4. Printed Objects: This section evaluates the design of printed materials that have moved beyond the two-dimensional format—length times width.
5. Peter Grob Prize: An honorary award presented to a graphic design firm that has consistently and continuously distinguished itself through exceptional achievements in quality and creativity.

The Award-Winning Products

In the «Books» category, the book *Où allons nous?* by Daniel Ifanger was awarded gold. It was produced at the Odermatt printing plant in Dallenwil and bound at BuBu in Mönchaltorf. Silver went to the portrait of Elisabeth Kübler, produced by Engelberger Druck and bound by Grollimund. The book by the Viktoria Fire Department Cooperative was awarded bronze; it was printed at the Läderach printing house in Bern and bound by BuBu in Mönchaltorf.

No gold was awarded in the «Printed Matters» category, but the DT Druck team, together with Renfer Buchbinderei, took home silver for a special customer gift consisting of a booklet and its packaging. The anniversary brochure for Trüb Gartenbau AG took home bronze; it was printed by the Odermatt printing company in Dallenwil and finished at BuBu in Mönchaltorf.

In the «Publications» category, a vegetarian cookbook—produced at the Rigi Printing Center and bound at BuBu in Mönchaltorf—was awarded a gold medal. The publication «Junge Grafik,» which featured the winners of the competition of the same name, received a silver medal. This work was produced by Engelberger Druck AG. The bronze award went to Ringier’s annual report, which was also produced by Engelberger Druck AG and finished at the Grollimund bookbinding shop.

In the «Printed Objects» category, no entries were evaluated due to a lack of submissions. However, the Peter Grob Prize was awarded to Lorenz Bögli’s screen-printing studio for the multimedia work (print and online) «Color Through Soul.» This special jury prize honors print artists for exceptional work; it commemorates the late executive director of the ASW, who dedicated his life to the printed word.

m&k: Mr. Bieber, as CMO of Porsche Switzerland AG, you’re familiar with all the models—which Porsche do you personally drive?

Benjamin Bieber: I currently drive a Porsche Cayenne E-Hybrid.

Why did you choose this model?

As a father of two, this model is ideal. With a 15-kilometer commute, I can drive purely on electric power and only use the internal combustion engine for longer trips. It has also always been my dream to drive a classic Porsche. Two years ago, I made that dream come true, and I now own a 1992 Porsche 911 (964 generation): a Carrera 4 in Metallic Midnight Blue with a gray interior. I suppose the question of “why” goes without saying. (laughs)

What are the three most fascinating things that come to mind when you think of the Porsche brand?

First, the community; second, performance; and third, the balancing act between being a modern luxury brand and maintaining public appeal—something Porsche pulls off successfully.

Let's start with the community.

This shared passion for the brand fascinates me immensely. It’s great to hear just how much our fans and customers know about Porsche’s history. The customers, the fans, the employees—they are all the backbone of Porsche.

Let's talk about performance.

On the one hand, there’s the performance and quality of our vehicles. Our customers confirm that everyone knows what makes a Porsche special the moment they sit behind the wheel of one of our sports cars for the first time. The feel, quality, agility, and performance are simply extraordinary. Let me come back to the 964. It’s become a classic this year—it’s 30 years old. And the car runs just like it did back then. Sure, the technology has evolved over the years. But at the same time, it was a sports car in 1992, and it still is today.

And can Porsche do the splits, too?

(Laughs) It’s the combination that’s so impressive. On the one hand, Porsche is a modern luxury brand. On the other hand, the brand enjoys a very high level of public appeal. When I’m out driving my classic sports car, people often stop me. I see children at the side of the road turning their heads to look at the car and mouthing the word “Porsche.” The design language—for example, the roofline known as the Flyline—is so distinctive that a Porsche is instantly recognizable across all model lines. And it has been that way for nearly 75 years.

Porsche is going electric—that’s what Strategy 2030 says. Luxury and sustainability—do they really go together, or will Porsche lose its sex appeal?

Sustainability and resource conservation have always been important to Porsche. As part of our Strategy 2030, we are placing a strong emphasis on electric mobility, among other things. We are convinced that this is the right path to take. With the Taycan, we took the first step in 2019 and launched the first all-electric Porsche sports car. It carries the typical Porsche DNA, drives like a true Porsche, and embodies the spirit of a Porsche. The campaign for it was called «Soul, Electrified.» Everything Porsche stands for is embodied in this first BEV (Battery Electric Vehicle) from the brand.

The Flyline is so distinctive that a Porsche is instantly recognizable across all model lines.

How is the community reacting to this «E» in front of “mobility”? Isn’t the classic Porsche sound a hallmark of the brand?

We see change as an opportunity. In this case, that’s also because the Taycan has allowed us to reach new target groups. With the Taycan, we’ve been able to appeal to drivers who are «neutral toward a brand»—people we hadn’t had any contact with before.

But what about the core community …?

Existing customers and so-called “petrolheads”—those who are particularly passionate about internal combustion engines—usually change their minds after their first test drive in the Taycan. At the same time, our broad model lineup and classic cars allow us to cater to a wide range of preferences. I’m convinced that I’ll be able to drive my Porsche 964 for another 30 years—perhaps one day in a nearly CO2-neutral way using eFuels. That would also align with the goal of sustainability.

Porsche offsets the CO2 emissions from its vehicle production. How does that work?

Our efforts to achieve net-zero CO2 emissions by 2030 include not only measures to avoid and reduce CO2 emissions but also offsetting CO2 emissions in collaboration with partners. This is done in cases where avoidance or reduction is not possible. Porsche aims to gradually reduce its offsetting activities over time.

You say that test drives are part of marketing. That wasn't possible during the pandemic; did Porsche feel the impact?

Yes, of course. The COVID-19 pandemic struck right around the time the Taycan was launched. None of the launch events in Switzerland could take place. Words can convey a lot, but the experience itself is the most powerful argument—and the one that leaves a lasting impression.

Events are taking place again. Porsche, for example, sponsored the League of Leading Ladies conference this summer in Bad Ragaz. What prompted Porsche to sponsor this event?

At the conference, I quoted, among others, the founder of our company, Ferry Porsche. He once said that he looked around but couldn’t find the car he dreamed of. So he decided to build it himself. That is exactly the spirit that Porsche still stands for today. It’s not just about dreaming your own dreams, but about pursuing them and making them a reality. When I look at the League of Leading Ladies conference, in conjunction with the Empowering Women Award, I see that such visionary women come together at the conference. People who live their dreams, turn them into reality, and don’t just talk about them. We found that exciting, and it fits with Porsche. And with the Empowering Award, our next step is to help people achieve their dreams. For us, it’s an event where we were able to authentically integrate the brand.

How important is Switzerland as a location for the global corporation?

There are two answers. One is based on numbers, and the other is more based on emotions.

Let's start with the importance based on the numbers.

Last year, we delivered more than 3,800 sports cars—that is, handed over vehicles to Swiss customers. Worldwide, the total was more than 300,000. This means that, globally speaking, we account for a relatively small share. However, the Swiss market has one of the highest densities of Porsche vehicles worldwide, and the brand also has a long history in Switzerland.

History?

There is a strong connection between Switzerland and the Porsche brand. Few people know that the first editorial test report on a Porsche appeared in 1948 in a Swiss publication, namely *Automobil Revue*. Furthermore, Porsche made its first public appearance at the Geneva Motor Show in 1949. In addition, the first production Porsche sports car—the very first Porsche 356—was sold in Switzerland. And it was sold to a woman. To Jolantha Tschudi of Zurich—a pilot and a visionary.

Do women drive differently than men? Do they have different priorities, or do they want something different?

We don’t think in terms of gender categories; we view each and every customer as an individual. If we were to think in stereotypes, we wouldn’t be selling such a diverse range of vehicles as we do today. However, we do use different marketing strategies to appeal to different target groups.

… such as the League of Leading Ladies Conference.

Exactly. She's a great example of how we can bring together ambitious women who are highly self-motivated and successful in what they do, and engage in dialogue with them.

The customers, the fans, the employees—they are all the backbone of Porsche.

Let's turn to the vision for the future: autonomous driving. Would your community accept that? Or do you think Porsche drivers would say, »The last thing I'll let go of is the steering wheel"?

I believe that a Porsche will always be a car you want to drive yourself. However, there are certain situations where it makes sense to have some assistance. For example, when I’m stuck in a traffic jam or in slow-moving traffic. But if I’m driving on a clear Alpine pass, I don’t want to let go of the steering wheel. It’s important to us that our customers have the opportunity to decide for themselves which systems they want. For us as a manufacturer, it’s important that we interpret and implement new technologies in a way that’s true to the Porsche spirit.

How does Porsche manage to stay ahead of the pack with all that competition hot on its heels?

I see two main reasons for this: our strong brand and the community associated with it, which has been mentioned here many times. For many customers, buying a Porsche means the fulfillment of a long-cherished dream. Some even say that you become part of a «family.».

«The design has been carefully refined with each generation, not revolutionized. The technology, however, has been revolutionized every time.»

Is Porsche actively engaged with its «family»?

Yes, of course, because our customers and fans are, among other things, what defines our brand. A wonderful example is the Porsche meet in Mollis. It’s finally taking place again next year. The last time it was held—due to the pandemic—was in 2018. There were over 1,100 Porsche sports cars on site and nearly 4,000 visitors. The place was just buzzing with that sense of legend.

In addition to the community, you mentioned another key reason for their success.

The second reason for our success is that we have remained true to our tradition, our values, and our heritage. Take the 911, for example—our iconic sports car. The design has been carefully refined with each generation, not revolutionized. The technology, however, has been revolutionized every time. We have continuously refined the vehicle; at the same time, it has always remained true to its roots. That is one of our greatest strengths—this blend of tradition and innovation. That’s why our customers and fans see us as a “love brand.” We’re still the same company we were back then—just always keeping our finger on the pulse of the times.

Porsche's Initial Public Offering

Porsche is preparing for its initial public offering. The company plans to offer up to 25 percent of its non-voting preferred shares to the public. The IPO in Frankfurt could take place in the fall and is expected to be completed by the end of the year.

With Christian Huldi, a seasoned expert and proven dialogue marketing specialist is taking over as chair of the SDV (Werbewoche.ch reported). What opportunities and risks does he see for the SDV and dialogue marketing in general—and what are his priorities as the new president? The association asked him.

SDV: Is interactive marketing still relevant today?

Is the SDV even necessary these days?

Absolutely. I’ve served as a volunteer on the SDV’s board in the past, so I’m already very familiar with the association. Even though we believe that the time for dialogue marketing has never been better than it is today, the challenges are just as great. There are more than enough examples of this: data protection, sustainability, digitalization, and promoting the next generation of talent, to name just a few. In these areas, we need an industry organization like the SDV that raises awareness, advocates for its members’ interests, lobbies on their behalf, and—last but not least—takes concrete steps to provide effective and supportive outreach to the outside world. With this in mind, we intend to continue increasing the value we provide to our members in the future.

What are the priorities for your first year in office?

I can’t say yet. In the near future, we’ll work with the Executive Board to refine our strategy and then implement appropriate measures based on that. It’s very important to me personally to increase the benefits for our members and, in connection with that, to promote the SDV’s identity. We work in an exciting and wonderful industry with incredible opportunities and possibilities, and as an association, we have a lot to offer. We can and should communicate this to the outside world. Yes, we have every reason to be proud of that! Our colleagues at the DDV and DMVÖ are a step ahead of us in this regard in some respects. For example, in our German-speaking neighboring countries, it is standard practice—and considered good form—to be a member of the dialog marketing industry association. So there is a lot we can and should accomplish. I am very pleased that I can count on a competent and effective board of directors to help me achieve this. Because only together will we be successful, make the most of the opportunities and possibilities for our industry, and advance the field of dialog marketing.

Sdv-dialogmarketing.ch

From Physical to Digital

The pandemic has accelerated the shift from physical to digital formats in many sectors of the E&M market. Perhaps the most prominent example is newspapers: Their revenue plummeted by 17.1 percent in 2020, and they are struggling to recover from this slump. The decline is primarily due to the sharp drop in demand for print media, which could not be offset by the modest growth from digital sources. In addition, voters rejected the government’s proposal on media funding in the February 2022 referendum. This means that newspapers must be innovative and focus more on online formats if they want to ensure their relevance and profitability.

Another example is the book market. In recent years, consumers have become increasingly fond of e-books and audiobooks. However, growth in these segments has been offset by the dramatic decline in print books, and overall sales are on the decline.

The shift from physical to digital media is also evident in the B2B sector. Although demand for business information and trade journals remains high despite the economic downturn, revenue from print is declining; growth is coming from digital products and services.

The Music Industry: A New Rhythm

Digital channels are also on the rise in the music industry. The cancellation of live events and limited entertainment options during lockdowns caused the number of subscriptions to digital music services to skyrocket. This growth was driven by easy access to a vast selection of digital content and the bundling of music offerings with other services such as cell phone plans and streaming services.

Live music is now making a comeback on event calendars, and many of Switzerland’s biggest festivals were able to take place again this year. However, revenue from live performances remains well below pre-pandemic levels—and the digital music market will continue to grow in importance in the future.

And what about movie theaters?

In 2020, the movie theater industry was the entertainment sector hardest hit by the pandemic. When theaters reopened in 2021, the industry boomed, posting annual growth of 30.5 percent. The delayed theatrical releases of many films drew audiences to theaters in droves, with the James Bond film «No Time to Die» generating by far the highest box office revenue. The Swiss movie theater industry is expected to recover slowly from 2022 to 2026 and gradually make up for the losses suffered during the pandemic. However, total revenue will not return to pre-pandemic levels until 2024.

While movie theaters struggled, streaming services experienced unprecedented growth. Several new services were launched in Switzerland, including Disney+ and Play Suisse. We are also seeing a mix of ad-supported and subscription-based video-on-demand services. Although the market is becoming increasingly saturated, revenue is expected to continue growing at an average annual rate of 6.5 percent. But even though it seems as if the pandemic has changed viewing habits forever, the rapid growth of streaming services does not—at least for now—spell the end of movie theaters.

Welcome to the Metaverse

Augmented reality (AR) and virtual reality (VR) have experienced explosive growth. Mobile AR revenue has risen from 7 million Swiss francs in 2017 to 39 million Swiss francs in 2021—and is expected to reach around 97 million Swiss francs by 2026. This growth is primarily driven by mobile AR advertising. VR is on a similarly impressive growth trajectory, due mainly to the increasing popularity of VR games.

The foundation for the booming AR and VR markets is the metaverse, an astonishingly realistic digital 3D world where consumers and businesses can buy and sell goods and services and interact with people, customers, and communities. This enables exciting new applications—from games and advertising to fashion and virtual concerts. The Swiss metaverse ecosystem is still in its infancy but is beginning to flourish. Thanks to its strong blockchain, crypto, and technology markets, Switzerland is well on its way to becoming a hub for the metaverse. In addition, Meta (formerly Facebook), Google, and Microsoft are concentrating their metaverse activities in Zurich.

Earthquake in the Advertising Market

There has also been a seismic shift in the advertising market. The pandemic-driven shift of consumers to the internet was accompanied by a massive increase in online advertising. This trend is likely to continue, and by 2026, online advertising could account for nearly two-thirds of total advertising revenue.

Other advertising segments present a mixed picture. Outdoor advertising has declined sharply, and it could take several years for this segment to recover. To cut costs, many companies also reduced their TV advertising budgets in 2020. Since then, there has been a slight increase, but TV advertising is unlikely to return to its previous levels for at least the next five years.

The pandemic has permanently transformed the Swiss entertainment and media industry. Even though it may feel as though things have largely returned to normal, it is no longer the normal we used to know. Companies in the E&M industry must ensure that their products and services meet consumers’ new (digital) requirements and preferences—or they risk falling behind the competition.

* Bogdan Sutter is a Director of Advisory & Strategy and an expert in digital transformation at PwC Switzerland.

No sooner has Flavio Gerber returned from vacation than he’s back on set. That’s why he suggests an 8:00 a.m. meeting. But once at the meeting, he takes all the time in the world; he’s level-headed, engaging, and focused—a great person to talk to. At 36, he’s already accomplished a great deal: the premiere of a documentary in Locarno’s Piazza, shoots with Roger Federer, an Oscar nomination for a short film, a weekly TV show with Deville, and an award at Cannes for the most successful production company of the year—and all of this through his own company, Filmgerberei, which he founded in 2008 together with his brother Silvio. What does success mean to him? «When people watch what we produce and enjoy it.» That could be a small, in-house project or a shoot with ZKB apprentices. It’s a typical project for him as a director because it’s all about emotions. He likes to keep things spontaneous and simply let them talk about what they value most about their apprenticeship. He calls it «seeing what the young people give you.» He’s proud that the client allowed this and trusted him. Because, he emphasizes, this is the principle they live by as a company: With every project, no matter how big, they seek out the challenge and set their own focus. How bold they’re allowed to be in engaging in this dialogue with clients is important. “It doesn’t always work out. Sometimes you’re held back. But we don’t want to leave it untried.”

«We are actively looking for female camerawomen»

Today, Filmgerberei has sixteen employees. Its offices are centrally located in Zurich’s 5th district. But it all started in the basement of a cooperative housing complex in the 6th district. Flavio grew up there. His brother Silvio had a deep-seated interest in film, he explains. That’s how it all began. Together with colleagues, they shot short films in the neighborhood. While in school, they worked as cable installers for a TV station, and it was through one of those contacts that they landed the assignment to set up Credit Suisse’s in-house film department, modeled after the divisions in New York, Singapore, and London. So he’s self-taught. He learned the craft of filming and editing on the job there. «That was pretty intense.» There wasn’t enough time to work with the necessary care. So after a year, he founded Filmgerberei, with Credit Suisse as his first client and the goal of expanding quickly. By the way: He has remained loyal to the cooperative. Today, he lives with his own three kids back in the neighborhood where he grew up.

In addition to its commissioned work, Filmgerberei also produces feature films and documentaries. This highlights another principle. «We want to embody diversity,» says Flavio. Diversity within the team leads to different perspectives. «These are valuable contributions to a project.» The commitment to diversity that Filmgerberei has publicly made not only reflects the company’s transformation—Flavio is currently the only male producer; the rest are women—but also leads to new strategies. «We always include a woman in our pitches and actively seek out female cinematographers and gaffers. Otherwise, the industry is simply very male-dominated.» And these strategies are leading to new themes. The Oscar-nominated fictional short film «Ala Kachuu» by Maria Brendle and producer Nadine Lüchinger tells the story of bride kidnapping, an anachronistic Kyrgyz practice. Currently, there’s a documentary project on the topic of surrogacy in Georgia. Other projects addressing pressing issues are in development. In terms of content, this is a balancing act compared to the commissions where diversity is hardly an issue. «But even there, we strive for balance.» For the new ski racing suit, they brought Aline Danioth and Mauro Caviezel in front of the camera.

Customers are increasingly asking for a full buyout on large contracts. I say no!

What he values most about the Swissfilm Association is the exchange of ideas. A few years ago, the deciding factor in becoming a member was the ability to access information more quickly. Conversely, the film production company was also of interest to the association. Through their work for SRF, they were able to report on how negotiations proceed and how rates are structured. Flavio feels that in Switzerland, there’s a barrier to working with lawyers. In Germany, someone is brought in for every contract. Membership in the Swissfilm Association has helped them overcome that hesitation. «Clients are increasingly demanding a full buyout for large contracts.» Flavio gets upset for the first time: «That’s when I say no! You don’t have to give clients everything they ask for.» He remains true to himself and his principles.

The metaverse? It needs content, too

How does he view new technologies? He seems relaxed. The metaverse and virtual reality will bring about a lot of change. But content will still be needed in the future. Thanks to the interns, the team at Filmgerberei is always up to date on such developments. In fact, they’ve just pitched a project that’s not quite ready to be announced yet. «We’re ready,» he says with great conviction.

The Swissfilm Association is the trade association for Swiss companies in the film production industry that professionally produce commissioned films and other audiovisual productions. It represents the common interests of commissioned film producers in economic and legal matters. Its main objectives are to secure Switzerland’s position as a production location, as well as to promote quality and professionalism in film production.