Fiona Brogle and Jan-Hendrik Völker-Albert have known each other for a long time: She heads major account marketing at Swiss Re; he is Head of Marketing, Communications & Corporate Responsibility at PwC Switzerland and Leader of Digital Marketing at PwC Europe. After numerous informal meetings at industry events, they have—despite the COVID-19 pandemic—recently launched their first joint project. PwC has supported Swiss Re in preparing the reinsurer’s major accounts marketing for the challenges ahead: moving away from one-size-fits-all measures toward a more nuanced, account-based approach; breaking down internal barriers and promoting integrated work that takes diverse stakeholders into account. Now, at the invitation of m&k, Fiona Brogle and Jan-Hendrik Völker-Albert met for lunch—and reflected not only on their collaboration but also on their views of marketing as a discipline and the current global situation. We have recorded the key takeaways from the discussion.

On Transformation in Marketing and Business

Jan-Hendrik Völker-Albert: «…and that’s the key takeaway from the World Economic Forum at the end of May; that’s what everyone was talking about in Davos—and we’ve already discussed this together, Fiona: Continuous change is here to stay, and not only do we in marketing need to adapt to this, but so must senior management. Companies need to become much more agile.»

Fiona Brogle: «The past two years have been marked by change for every company—including SwissRe. And not just because of the pandemic: Our joint project with you, Jan, has shown that we need to shift our focus with major clients toward a new approach to market engagement; that we must create strong synergies between communications and marketing. In the past, our marketing approach for major clients was »one size fits all’; today, we examine individual accounts in detail and practically tailor our marketing measures to their specific needs. We’re addressing the ‘segment of one.’”

On the Role of Marketing in the Organizational Structure

Völker-Albert: «I personally believe that we’ve taken a huge step forward and that in many companies—in Switzerland, but also worldwide—marketing departments have evolved from a cost center to a business case. Today, we have the KPIs to demonstrate what we do and what concrete benefits this brings to the company. If marketing leaders handle this wisely, they’ll become a sort of co-CEO with this responsibility: They operate beyond just the customer interface; they increasingly communicate messages internally as well and can drive change throughout the company across all hierarchical levels.»

Brogle: «If you wanted to be a little cynical, you could have said for many years: Marketing consists of expenses that have to be incurred without a defined ROI—and you just hope that these expenses will have a positive impact. Now we’re putting the numbers on the table and demonstrating exactly what results each measure has delivered. I think this not only boosts marketers» confidence but also strengthens the discipline’s position within the organizational structure.”

On Mediocrity and the Importance of Courage

Fiona Brogle: «Those who settle for mediocrity copy what already exists—but give it a different spin. What you really need to do is look for something that hasn’t existed yet. I often think about this when I see commercials on TV: The only things that stick in your mind are the ones you’ve rarely seen or never seen before. Of course, it’s not enough for me to commission a great campaign from the marketing department, for the agency to come up with something amazing—and for me, let’s say, not to have our sales team on board. Then we’ll very quickly find ourselves facing closed doors again. Courage must be a universal quality within the organization, and that’s a matter of culture.»

Völker-Albert: «My view—based in part on conversations with many customers—is that, in many places, significant investments have been made in technology and new processes, especially in recent years. What’s often overlooked, however, is that we must continue down this path: This requires CMOs and their teams to have the courage to actually implement all the possibilities that new technology enables. If I—as Fiona just said—want to be bold, I have to embrace a culture of learning from mistakes. Not just in a simplistic way like »We’re allowed to make mistakes,’ but we must have the courage to retell relevant stories in new ways. It’s better for something to go wrong once in a while than for everything to be geared toward conformity.”

About Creativity

Völker-Albert: «We’ve developed systems that are incredibly intelligent and can identify everything that’s happening on the market in real time, just like a radar. But using that as a foundation to deliver the right, customized package of measures—tailored advertising materials—to the right target audience at the right time—that also requires gut instinct. Only this new form of combined creativity, this interplay between human and machine, can create something truly great.»

Brogle: «Creativity is also needed when we have to convince internal stakeholders who aren’t so easy to convince at first. That said, as you say, analytics tools are fantastic, but they can also become »too much.’ What information and what data should you include, and what should you leave out? That’s where my creative skills really come into play.”

On the State of the World and Future Prospects

Brogle: «The pandemic was certainly a challenge for us at SwissRe, but one that we handled very well. You know that. We talked so often during that time. And then we thought: »No matter what comes next, things can only get better.’ We all know that this optimism turned out to be a bit premature, didn’t it? The entire geopolitical situation we’re facing is, of course, extremely delicate; it makes me very sad and fills me with deep concern. I want to make it clear: I’m speaking here not from my position as a marketer, but as a human being. I think we can all agree that there’s hardly any other way to respond to the situation in Eastern Europe than with empathy and the hope that things will soon improve for the people there.”

Völker-Albert: «We’re doing everything we can for our employees in the affected countries … and of course, I’m concerned about the situation in Ukraine. But what else can I say about inflation, consumer sentiment, and the challenges of our time? Perhaps I can also express a little optimism regarding the outcome of the pandemic: I am convinced that we, as marketing professionals—just like our companies—have undergone a profound transformation in the face of the crises of the past months and years. Overall, we are well-positioned. Switzerland has emerged from the pandemic a stronger country—and, most importantly: We do not have any fundamental structural problems in our economy. My hope is therefore that we can resolve most of the current issues on our own and that, as marketing professionals, we can help ensure that we do not slip into a recession but instead stay on the path to prosperity.»

’Now tell me, what do you think of religion? You’re a genuinely good man, but I don’t think you make much of it»: This question is enough to completely throw Doctor Faust off balance in Goethe’s tragedy of the same name. It is posed to him by the much younger Margarethe—also known as Gretchen—with whom Faust is having an affair and who was raised as a devout Catholic. How is Faust—who, after all, has made a pact with the devil—supposed to answer without offending his lover? Let’s be honest: In this situation, even you or I, dear readers, would struggle to come up with a clever answer. That said, it might not even have to be this specific situation to test how we would react to a «Gretchen question.» After all, the term has become synonymous with inquiries that probe our deepest convictions—convictions that, for whatever reason, tend to make us feel rather uncomfortable. It seems to me that the communications industry, too, has its very own «Gretchen question.».

It’s a question of the «ethics» of communication—or, to put it in slightly less philosophical terms, a question of which clients one should work with—and which ones one must politely but firmly decline to work with. I recently had a discussion with a respected colleague who brands his company as a «values agency, not an advertising agency» and is thus trying to position himself clearly. Others, on the other hand—and I say this with a wink—would design campaigns to sell their own grandmother at any moment if it were profitable for them. That’s a broad spectrum, to say the least. So where does one position oneself as an agency that, on the one hand, wants to cover a broad portfolio, but on the other hand doesn’t want to share responsibility for the destruction of our planet?

It seems to me that the communications industry as a whole would benefit from a kind of «reform-oriented realism» when it comes to such issues. Instead of getting bogged down in turf wars over which companies or industries should end up on a «blacklist» and which should not, it would be better to take a different perspective on the matter: examining the motives of the clients and the seriousness with which these motives are pursued. After all, the companies we work for haven’t always acquired their power and economic strength in a way that might seem noble or socially acceptable to us today. But when a company possesses power and economic strength—and that company then asks an agency to assist with communications as it takes steps toward a sustainable, better future—isn’t that precisely when our work has a real, measurable impact that matters to the general public? Should we disadvantage those who are big but not (yet) «good» compared to those who are «good» but not big? Where, then, is the leverage whose impact we all so desperately desire? I mean: We need to discuss this openly. So that we don’t, like Faust, nip the discussion in the bud (with the words: «Stop that, my child!»), because it is only the uncomfortable «Gretchen questions» that truly move us forward.

m&k: «Nachhaltigkeit» and «Sustainability» have become buzzwords—many companies talk about them, but by no means all of them are making an effort to implement them in practice. What do these terms mean to you?

Pascal Schaub: While Ewz has been pursuing renewable energy as a business concept since 1892, the “green” trend has now taken over marketing everywhere. Nothing against companies that plant trees just for show, even if their business has absolutely nothing to do with gardening. We don’t need a sustainability campaign—we are the campaign.

 

How do you incorporate sustainability into your daily work?

In our Facebook posts, we’re happy to show our customers that we’re saving 80 percent on electricity by switching the Platzspitz lighting to LED. In our ads, we portray Greencity as 100 percent climate-neutral. In presentations, we explain how we heat buildings in Seefeld using seawater instead of fossil fuels. Our direct mail assures customers that since 2015, we’ve been supplying our well over 200,000 customers with electricity produced entirely from renewable sources—wind, water, sun, and biomass. Our email signature notes that the Swiss Federal Office of Energy has repeatedly recognized Ewz as Switzerland’s most sustainable energy provider for years. So in our weekly newsroom meetings, we don’t just discuss topics like «turning off the lights» and «shutting down screens after every meeting»—» (laughs).

 

You've got it— for example, with your solar campaign – We’ve succeeded in making it easy for people to get involved in environmental protection and sustainability. Do other companies sometimes make it too difficult to «do something for the climate»?

Simplicity is a visionary Ewz brand value. Our citizen participation model for solar energy embodies this. However, our campaigns are the key to driving impact. Consistently refined based on data, we are currently in the third wave. The analytics show with laser-like precision how advertising works. Here, too, simplicity is key—but with a touch of charm. The lifestyle conveyed by our solar participation photos, for example, is a powerful driver. Style opens doors and hearts more effectively than fear-mongering or anger over geopolitical change.

What specific challenges do you face in the area of communication related to sustainability—I’m thinking here of both B2B and B2C communication?

Unlike the globalization of entire industries—such as “Amazoning,” “Googleing,” and “Netflixing”—energy is becoming increasingly regional and local. District heating and cooling networks are the key to climate-friendly heating and cooling in the future. Brilliant on a local scale. A project for the ages. Millions in B2B investments are decided by B2C referendums.

You can experience the climate firsthand. Climate protection, climate-neutral, climate-positive—these are words people are happy to embrace.

 

What strategies do you use to address these challenges?

Climate is the big issue for us. We’ve analyzed various aspects of it. “Green” has become an incredibly political term—there’s no getting away from that. “Sustainability” is an academic term—apart from hardcore fundamentalists, no one wants to have to understand it in detail. Climate, however, is something we experience every day. Climate protection, climate-neutral, climate-positive—these are words people are happy to embrace. For us, climate is a key focus in our communications—naturally, combined with transparency. To achieve this, we’re increasingly relying on partnerships. In sponsorship, ewz is a climate partner, not just a logo placer. In the B2B sector, we’re successfully collaborating with trade journalists whose white papers generate enormous download numbers on LinkedIn. In the B2C sector, we’re collaborating with Energy to develop the energy podcast “Vitamin E” and the “Züri Climate Quiz,” because their radio shows and social media stories reach a young audience phenomenally well.

 

What are your communication goals in both areas over the short, medium, and long term?

We are establishing and expanding three platforms: «Solar City,» «Climate Thanks,» and «Real Estate Economy.» Measuring, measuring, and measuring again is the foundation for continuous optimization, rather than constantly reinventing the wheel. I’ve also noticed a shift: from “important” to “urgent.” Tomorrow begins today. Our customers don’t want a Plan B. We’re responding to that need, because bringing innovations to life as committed doers—rather than just making grandiose promises—is in ewz’s DNA.

 

In the spring of 2021, Ewz and Publicis launched a campaign promoting participation in solar power systems in the city of Zurich. Now they’ve taken their communication efforts a step further—explaining the «why,» or the purpose, behind the campaign. How are people responding to your current communication strategy?

Sensational. The three-tiered campaign architecture—with “Purpose” driving awareness, consideration, and sales—is working so brilliantly that, unfortunately, we’re constantly sold out. 7,544 square meters have already been sold since the campaign launched in May, which represents 189 percent of our target. In addition, all ewz KPIs are on the rise, whether it’s brand awareness, perception as a driver of renewable energy, or recognition as a solar energy specialist.

 

Have you already noticed that the campaign is having a positive impact on the Ewz brand image—or was that not the intention at all when you launched it?

The perception of a billion-dollar company doesn't change overnight. However, we're managing to transform ourselves from a bureaucratic department that sends out bills into a brand that evokes an emotional connection faster than we expected.

As a political hub and tourist destination, the federal capital of Bern is already on everyone’s lips—and now it’s gaining even more momentum in the business sector: With numerous new initiatives, event venues, and hotels, the city aims to further enhance its appeal in the MICE sector. We’ve compiled a list of the most exciting new developments.

New Director of the Bern Convention Bureau

First of all, there are some personnel changes to report at the Bern Convention Bureau. The Board of Directors of Bern Welcome has appointed Mischa Niederl as Head of Business, overseeing the Meetings and Events divisions. According to an official statement, with his appointment, «an experienced and accomplished professional» is taking the helm of the Business division at Bern Welcome. Raised in Biel and now living in Bern, Niederl completed a commercial apprenticeship as a travel consultant and then earned a federal diploma as a marketing planner and sales manager. The 49-year-old gained experience in various professional roles, including positions at Best Western Hotels in Bern and Bernexpo AG. Most recently, Mischa Niederl served as CEO of Globetrotter Tours AG.

Green Light for New Festival Hall

It therefore seems more than fitting that the new convention center director will soon have new facilities at his disposal: In early March, voters in the city of Bern approved the construction of a new «Festhalle» in a referendum. To that end, a hall built more than seventy years ago (originally as a temporary structure) on the Bernexpo grounds is to be demolished in the near future, and a modern event venue will be built in its place. This facility will be divided into three functional areas: a multifunctional hall, a large auditorium in the Live Center with meeting and hospitality rooms, and a shared foyer. Spanning more than 4,000 square meters, the facility is expected to accommodate 8,500 people for concerts, sporting events, or trade shows, likely starting in 2025.

Opening of «harry’s home»

Since all these people need a place to stay—preferably somewhere stylish and conveniently located—Bern has had a new hotel in the canton’s tallest tower for several weeks now. In early April, «harry’s home» opened in the lower section of the BäreTower in Bern-Ostermundingen, featuring 116 spacious studios and apartments that offer a wide variety of living options under the motto «Create your stay.» An attractive bonus: From the hotel’s partner restaurant on the ninth floor, guests can enjoy fine cuisine and a good glass of wine while taking in the view of the snow-capped peaks of the Eiger, Mönch, and Jungfrau.

Sustainability and «Swisstainability»

With an increase in business travelers and events, the environmental impact naturally rises—at least in theory. In practice, however, Bern is addressing this through smart sustainability planning: The city has been committed to the sustainable use of energy and resources for years. As a result, the city was awarded the «European Energy Award Gold» in 2019 for its commitment to a sustainable energy future. Since 2017, the federal capital has also held the «Fair Trade Town» designation. As a recipient of this award, Bern aims to continue playing a pioneering role as a growing, creative, eco-friendly, cosmopolitan, and socially conscious city in Switzerland. To this end, all event organizers are encouraged to use the «Sustainable Events Checklist.» From regional dining options to bike parking and proper waste separation: The checklist covers all sustainable options and alternatives and serves as a valuable resource for event organizers, whether they’re planning a music festival or a conference. In addition, all events on public property that require a permit are required to use reusable and returnable tableware. Recently, Bern Welcome, as the Destination Management Organization (DMO) for the Bern region, has also become part of Switzerland Tourism’s «Swisstainable» sustainability program.

Team Events at the Matte Distillery

Of course, the essence of a successful MICE business isn’t limited to meeting infrastructure, hotels, and event venues. The social program is also important, especially if you want to get together in a relaxed setting after a day’s work. There are numerous options for this in Bern—one particularly lovely one is located in the heart of the Matte district, where absinthe and gin have been traditionally crafted by hand since 2016. As part of a team event, participants can immerse themselves in the craft of a traditional Bernese distillery: During the guided tour of the Matte Distillery, visitors first learn about the production process, raw materials, and sensory characteristics of the distillery’s products; afterward, they sample the high-proof specialties. A tour focusing on the trendy juniper schnapps known as gin is also available: During this tour, participants develop a team gin recipe and then distill it in the distillery. At the end, the created drink is tasted, and all participants naturally take home a small bottle of their homemade spirit. This ensures that your stay in Bern, the MICE city, will be unforgettable.

Bern Convention Bureau: What We Offer

Is your next event taking place in Bern? Take advantage of the insider knowledge and experience of local professionals. The team at the Bern Convention Bureau offers professional advice and support, from planning through to execution. Nothing stands in the way of a successful event:

• Consulting services for finding suitable venues and locations in the city and region of Bern
• Arranging and booking suitable supporting activities
• Advice on suitable lodging options and management of hotel room allocations
• Matching Volunteers with Opportunities
• Assistance with submitting applications and identifying funding opportunities
• Facilitating important contacts
• Engaging articles, photos, videos, and more from and about Bern are made available
• Assistance with preparing application portfolios
• Assumption of additional operational tasks (e.g., ticketing)
• Event Registration with or without Payment Collection
• Support for conceptual work
• Preparation of Sponsorship Proposals
• Communications and Advertising Services

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This article first appeared in the m&k go! issue 6-7/2022.

Anyone who receives a note written by a child saying, «You have a cool hairstyle!» is almost certain to be delighted. And that was exactly the intention of the Cub Scouts and Brownies from the Wädenswil-Richterswil-Au Scout Troop, who took part in the «Day of Good Deeds» in May: to brighten up strangers’ days with compliments they wrote themselves—just because. But the children weren’t the only ones performing good deeds on May 21. Individuals, families, couples, clubs, and organizations got involved in this participatory initiative to do good. Coop launched the campaign—for the third time this year—with great success.

What was an exciting day full of sparkling eyes for the Wölfli and Bienli kids is a successful example of how Coop engages with its consumers through content marketing—that is, content-driven, informative, and relevant corporate communications. «We want to be close to our customers and make their lives easier,» says Sacha Zuberbühler, Head of Marketing Communications at Coop (see interview). «Our »Day of Good Deeds’ campaign demonstrates this impressively: Together with our employees, partners, and customers, we show our commitment to others through small gestures. We share heartwarming stories about these acts on social media, in the Coop newspaper, and via earned media, which then inspire even more people to get involved.”

This campaign is part of the supermarket chain’s broad content marketing strategy: whether it’s the Hello Family Club, Mondovino, or Fooby portals; the Coop newspaper; the barbecue magazine; podcasts; or, most recently, «scoop!», a social-first project on Instagram and TikTok—there’s something for every target audience. Unlike traditional advertising, these campaigns convey content—specifically, content that holds value for the respective target audiences. After all, that’s what makes for good content: «Content is good when it’s appropriate for the target audience it’s meant to reach, the medium that delivers it, and the company that produces it,» says Regina Karnapp, managing director of the Content Marketing Forum (CMF). This could be an event like «Good Deed Day,» a customer magazine, a digital platform—or even music: such as «Mixtape Spaghetti» or «Boom Bap Fusilli» —playlists from Barilla’s Spotify channel that last exactly as long as the cooking time for each type of pasta. A simple idea that, unlike traditional advertising, works even without big brand logos—and still sticks in people’s minds.

Producing content on a regular basis builds trust

But finding the right content and telling the right story is no easy task for many companies. A study by the ZHAW School of Management and Law, supported by Watson and AZ Konzept, shows that when it comes to content marketing, one of the biggest challenges for Swiss companies is producing high-quality, engaging content on a regular basis. «Every company has its own story, but many aren’t aware of just how many exciting stories they actually have to tell. Everywhere you look, there are themes, attitudes, ideas, and approaches that set them apart from others. You just have to find them,» says Regina Karnapp. But how do you do that? Either you bring in experts, or you ask your employees, take a look around the production floor, talk to everyone involved, and—ideally—bring everyone together. «Incredible things come out of that,» says Regina Karnapp. And then the rest of the content usually falls into place on its own.

Every company has its own story, but many aren't aware of just how many fascinating stories they actually have to tell.

Only once a company has identified its core, knows exactly what it wants to communicate—and, above all, to whom—can it begin to consider where and through which channels it wants to distribute that content. Simply getting active on TikTok or producing a podcast just because everyone else is doing it isn’t a good idea. «Content marketing must be embedded in strategic corporate communications; otherwise, we won’t project a consistent image to the outside world. Yesterday, an ad in paid media with product-specific information; today, a post on employer branding; tomorrow, a blog about sustainability; and the day after tomorrow, a digital newsletter inviting people to a customer event. That leaves customers confused,» explains Monica Masciadri, senior consultant at the communications agency Stämpfli. And not only that—the content isn’t even seen in the first place. Content, says the expert, must offer value to users. «Only then will the target audience first give us their attention—and their data.» With 500 hours of video content uploaded to YouTube alone—every minute!—that’s not so easy.

«Ask your key customers»

For brands to reach their target audiences despite the enormous flood of content, they need a clear focus, the right direction, and a well-thought-out strategy. And the necessary knowledge about customers, explains Monica Masciadri: «Get your CMS up to speed, analyze when and where your target customers are active on platforms and what they’re looking for, and ask your key customers. Let customers discover or experience what they need at that moment at specific touchpoints, so you can provide them with content that’s valuable to them.» How many channels are used, how often, and with what content is always a matter of the company’s resources.

Unlike advertising, content marketing reaches people through information, facts, and context; it conveys a company’s values and creates relevance. The CMF’s 2022 Content Marketing Baseline Study, published in May, shows: Content marketing leads to high target audience engagement, has a positive impact on brand attitudes and trust, and increases brand value. Swiss companies invested one billion Swiss francs in content-driven corporate communications last year, and the trend is on the rise. Nearly all of the corporate representatives surveyed (92 percent) rate the effectiveness of content marketing as excellent or (very) good. And if consumers do the same, then the plan has worked.

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REQUESTED

«There's no magic formula, but there are a few essential ingredients.»

m&k spoke with Sacha Zuberbühler, Head of Marketing Communications at Coop, about effective content marketing.

 

m&k: Sacha Zuberbühler, content marketing plays an important role at Coop—why?

Sacha Zuberbühler We want to be close to our customers and make their lives easier. Content marketing helps us bring this ambition to life. With engaging, relevant content tailored to different media formats, we accompany them through their daily lives. At the same time, this approach allows us to bring our strengths—such as our culinary expertise, family-friendly atmosphere, wine expertise, and commitment to sustainability—to life. For us, content marketing is an essential complement to traditional advertising, because it helps us build relationships.

 

What makes for really good content?

There’s no magic formula, but there are a few essential ingredients. First and foremost, we need to define which emotions and actions we want to evoke in which target audiences. Relevance is particularly important here: even the best content is useless if the target audience isn’t interested in it. It’s just as crucial that the content is delivered through the right channel. The other two ingredients are credibility and presentation. If a brand wants to establish itself on a particular topic, that topic must be part of its core expertise; otherwise, there won’t be an effective connection. And the presentation must be appealing and tailored to the medium, since attention spans vary greatly depending on the channel.

 

How do companies know what customers want and need—so they can then offer solutions through quality content?

First and foremost, it is essential to understand the various customer groups and their needs. We must put ourselves in their shoes to develop a sense of the topics, the tone, and thus the content of our communication. This is achieved, among other things, through active listening—for example, in qualitative interviews, experiments, or tests.

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Tips for Effective Content Marketing

1. Creating a Consistent Image:
   Content marketing must be integrated into the company's strategic communications strategy; otherwise, it will not project a consistent image to the outside world.
2. Conveying values:
   Effective content marketing—using information, facts, and context—conveys a company’s values and establishes relevance.
3. Thinking Through the Strategy:
   It takes a clear focus, the right direction, and a well-thought-out strategy. And the necessary knowledge about customers.
4. Build trust:
   It is crucial to post content regularly; only then will the target audience gain confidence.
5. Creating added value:
   The content should offer added value; otherwise, the target audience will lose interest.

m&k: Parag Khanna, in your latest book, *Move*, you outline five main factors driving global migration: demographic imbalances, political upheavals, economic crises, technology-driven disruption, and climate change. It seems that all of these factors are currently occurring simultaneously—and are intertwined. This has never happened before, has it?

Dr. Parag Khanna: In any case, I can’t recall a time in recent history when there were so many different places around the world at the same time from which more than a million refugees or asylum seekers each had to flee. Think of Myanmar and the Rohingya, the political collapse of Afghanistan last summer, Syria, of course, Yemen, Ukraine, and Venezuela. My field of expertise is political geography, so part of my job involves counting borders. We’ve never had as many borders in the world as we do today—but there are also more people than ever before crossing those borders—or at least trying to.

 

And there are more and more bloody, protracted conflicts over borders—such as the one in Ukraine, where a «frozen conflict» has turned into a terrible war.

I have spent a great deal of time examining so-called «frozen conflicts,» a term I view with great skepticism. There may be conflicts that we prefer to ignore as long as they are not resolved through violence. But as long as they remain unresolved, they are still powder kegs. An unresolved conflict always has the potential to escalate. In the case of the Russian invasion of Ukraine, we have seen underlying geopolitical tensions between Russia and the West for years. This dates back to Putin’s rise to power and Russia’s alienation from our political system, to the invasion of Georgia in 2008, to NATO’s Bucharest Declaration that same year, and to the annexation of the Donbas and Crimea in 2014. Eastern Ukraine has long been a geopolitical flashpoint marked by violence, with occupied territories, disputed borders, fighting, and a regrettably high death toll over the years. While we haven’t been paying close attention for quite some time, that doesn’t mean nothing has been happening there.

 

You describe your work as political geography, and your writings and theories are characterized by a very refreshing pragmatism. In your opinion, what is the conflict in Ukraine «really» about on a meta-level?

In any case, this isn’t about ideology. It’s not about whether or not the world is divided into blocs between Western democracies and Eastern and Asian authoritarian states. In my opinion, all of that is just rhetoric. I can play this game of political theory just as well as anyone else. As someone with a Ph.D. in political science, I could easily play the role of a columnist and fill any opinion page with grand, sweeping statements. But—forgive me for being so blunt—it’s all utter nonsense. This war is primarily about territory, and it’s about resources. Geopolitics isn’t about how rhetorically brilliant and flowery you can present your arguments; geopolitics is about the relationship and interdependence of power, geography, and space. Unlike all those who view the war in Ukraine as an ideological rather than a territorial conflict, I would much rather see it as a territorial dispute than an ideological one. To put it simply: there are unresolved territorial issues in the Donbas—and Russia is prepared to go to war to resolve them.

 

Are we Europeans so shaken by this war partly because we thought that the forcible redrawing of borders was irrevocably a thing of the past?

In most parts of the world, there are still fundamental conflicts over unresolved border issues, but Europeans are reluctant to think about that. That’s because—in most cases—they believe they left all that behind them long ago. Although, I should remind you, France and England nearly came to blows in 2021 over fishing grounds. (laughs)

 

As an expert on the Asian region, how do you view China's role in the current situation?

There are two answers to that. I’d like to briefly touch on just one of them; it concerns the connection between the events in Ukraine and the situation in Taiwan. I think this is important for your readers, because many people in the West say: «China will be watching all of this very closely. Our actions toward Russia will influence China’s decision on how to proceed with Taiwan.» But I can tell you that this is very, very far from the truth. Thinking this way is simply an example of Eurocentrism. Relations between China and Taiwan have been highly complex and tense for more than a hundred years; it would be ridiculous to believe that Beijing would change its timeline for the «reunification» of Taiwan based on events in Europe. This claim alone shows how little people know about China; anyone who argues this way disqualifies themselves.

 

So how does China think?

The government in Beijing is playing for time. This is evident in a wide range of developments: For example, there are efforts to diversify Taiwan’s semiconductor supply chains. These are increasingly being manufactured in Japan, South Korea, India, Singapore, and even in the United States and Europe. What does this mean for the question you asked? Well, in just five years, Western companies’ dependence on Taiwan will have decreased noticeably. China won’t take any action in the coming years because it’s waiting until we no longer need Taiwan, so that we no longer need to defend it. But since we’re on the subject of Asia, one more thing about Russia…

 

You're welcome.

I’ve been saying for more than 15 years that Russia is part of North Asia. But no one living in Switzerland would describe Russia as a North Asian country, would they? They assume that Russia belongs to Europe. That’s understandable, because even within the United Nations framework, Russia is classified as a European country. Western institutions like the World Bank, the Olympic Committee… they’re all present there as well. But geographically speaking, Russia is simply part of North Asia. That’s why I’m convinced: Given the estrangement between Russia and Europe, the West’s ostracism of Russia—which is justified in many respects—and the country’s turn toward China, India, and Central Asia—we are not really witnessing a departure. Rather, we are witnessing a return of the Russians to the geopolitical stage where they belong.

It also marks a return—at least in the view of many analysts—to an unequal relationship between Russia and China, although it is clear that the Chinese are operating from a position of strength. Just because Russia is much weaker on paper does not mean it lacks asymmetric capabilities. Here’s an example: China has no influence whatsoever in the Arctic, but it needs the resources found there. Without cooperation with Russia, it has no access to those resources. So even in the face of theoretical asymmetry, a certain practical equality can exist. On the other hand, I also do not believe in this narrative of a Russian-Chinese alliance aimed at upending the world order.

 

Why?

No one trusts Russia, and no one trusts China. That means they don’t trust each other either. That’s why they can’t form an alliance in the traditional sense of the word. Do they need each other in many ways? Yes. Does Russia need China more than China needs Russia? Yes. But if Russia skillfully exploits its geographical advantages, it can counterbalance China’s power, at least to a certain extent.

Let’s move on to the topics of migration, climate change, and the sustainable economy. Despite the current influx of Ukrainian refugees, most Europeans generally believe that the «migration crisis» of 2015 and 2016 will not be repeated in the foreseeable future. I assume you would argue the opposite?

Let’s just take a look at the numbers. Currently, there are about four million refugees—most of them from Arab and African countries—in Turkey, in a sort of «limbo.» So, despite the dangerous circumstances, there are clearly enough people willing to make the journey to Europe; and a great many of them actually make it to Europe. What your continent needs, therefore, is a proactive and sustainable migration strategy. Politicians must publicly declare: «Young people are workers. We need workers. We need them to maintain our infrastructure. We need people who can earn money and pay taxes, who can care for the elderly, who can help us maintain our high standard of living, and who can ensure that the population does not shrink.» I actually believe that European politicians largely already think this way and base their actions on these premises, but it’s hardly ever discussed. The center-left coalition in Germany, Macron in France… these are not populists, but pragmatists when it comes to migration. Whether their quiet pragmatism will lead people in their countries to accept migration not only intellectually but also emotionally is another question.

 

But latent—or even overt—xenophobia will clearly be a problem in many countries when it comes to developing a more sustainable migration strategy.

Twitter would have us believe that populism, nationalism, and xenophobia are global megatrends. But reality shows us that Joe Biden is the President of the United States of America, not Donald Trump—and that about one million new immigrants will come to America this year. Canada isn’t governed by anyone even remotely comparable to Trump, is it? And it’s the most liberal country in the world when it comes to immigration. The United Kingdom has reversed the strict immigration policies of the immediate post-Brexit era; and I’ve already mentioned the pragmatism of Germany and France… so how can anyone seriously claim that the West has succumbed to xenophobic populism?! Is that populism an intellectual threat? Yes. Is it dangerous? Yes. Are there legitimate concerns that need to be addressed? Yes. But we shouldn’t lose sight of the facts I mentioned earlier either.

There have never been so many borders in the world. But there have also never been so many people crossing them.

 

What might a proactive, sustainable migration strategy for Europe look like?

As I said before, I think that Europe is actually doing the right thing—albeit reactively and sometimes reluctantly. But it’s not being proactive. Because, of course, the Greek, Spanish, and Italian coast guards are still shooting at migrants and killing them. That’s just terrible! I believe these people should be brought ashore so they can work on farms in Greece! It’s certainly possible to implement a very comprehensive assimilation policy: For example, I consider it essential that every migrant who comes to a European country learn the language of that country. Then these people should be taught all the skills they need to perform important professions and social roles. And this isn’t even a purely altruistic viewpoint, but rather a utilitarian one: Europe symbolizes the highest standard of civilized life, yet you also have the highest number of people dying alone in their homes. And that’s because no one comes to visit them or take care of them. And that, in turn, I do not consider civilized at all. I find it repulsive, barbaric, and degrading. So if Europe wants to remain the place that I—like billions of people worldwide—admire as the most civilized region of all, then you should at least take care of your elderly; you should maintain your infrastructure and prepare for demographic change. If you don’t have the necessary resources to do so, then simply bring people into your countries who can fill the gaps.

 

You write extensively and in depth about climate change as one of the main causes of migration. We know that we humans have caused a significant portion of global warming through our own actions. When we talk about creating a more sustainable, better future—how can we ensure that we don’t repeat the mistakes of the past?

I tend to believe that climate change is already much worse than we care to admit; perhaps even much worse than we could ever know. We use measurements and scales to delude ourselves into thinking we’re in control, but such a large volume of emissions isn’t even being properly tracked! And we’re ignoring the complex chain reactions of the greenhouse effect that have already been set in motion. I therefore believe that we must now focus on adaptation. Mitigation through emissions reduction, decarbonization of industry… that’s important, but it won’t turn back the clock. The climate is a very complex system that is constantly changing, and it will never be the same as it used to be. In a region suffering from drought today, the wells won’t magically start gushing again just because emissions from factories in America or China are halted. The region in Africa where it has stopped raining? I’m sorry, but no matter how many net-zero targets you set, no matter how many Paris Agreements you adopt, no matter how many documents you sign… it won’t rain there anymore!

»Mitigation is no longer enough; adaptation is what's needed": Parag Khanna on climate change.

 

So is the motto now: Adaptation over mitigation?

Yes. Essentially, my work is primarily about adaptation—that is, adjusting: adjusting to war, to the demographic plateau in the Western world, adjusting to economic crises, to climate change. How will today’s young people adapt to the complexities of tomorrow? Where will they live, what will they do? That is the fundamental challenge facing our civilization that we must confront. And then we must ask ourselves: What can we do to help young people?

 

Of course, I hope you'll answer this question…

There are two ways to help young people secure their future: We can transport them to areas with remaining resources, or we can provide them with the technologies they need to continue living in a changing environment. So: Either we resettle Africans, Arabs, and Asians in Europe, Russia, or Canada—or we start exporting technologies to the places where people need them. Build dams for them, provide them with seawater desalination plants, dig canals on their farmland, and supply them with genetically modified seeds! Facilitate migration or share technology: If you choose either of these strategies—no matter which one—you’re a good person. You’ll then be doing something good for the world, deserving of support, financial aid, and media attention. And if you decide to do nothing, then—at least from a sustainability perspective—you’re… absolutely useless. That may sound harsh, but when it comes to saving humanity, that’s the bottom line.

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Parag Khanna is a leading global strategy consultant, world traveler, and bestselling author. He is the founder and managing partner of FutureMap, a consulting firm that helps clients make strategic decisions based on data and scenarios. Khanna, who studied at Georgetown and earned his Ph.D. from the London School of Economics, is listed by *Esquire* magazine as one of the «75 Most Influential People of the 21st Century.».

For more information about the person we interviewed, please visit online.

On October 23, 2001, Steve Jobs heralded the «digital lifestyle» with the launch of the iPod. On January 9, 2007, this trend was further accelerated by the introduction of the iPhone. The rest is history. To this day, these developments in digitalization continue to shape our everyday lives, with a focus on digital and technological innovations—drawing a distinction between the digital and the real.

The metaverse, transformation, and disruption are concepts based on the concept of digitality.

But there was more to it. On September 5, 2013, the end of the «Digital Lifestyle» was announced. As part of the launch of two new products (a smartphone with a stylus and a smartwatch), Samsung challenged its target audience: «Design the story of your life.» The digital realm became an increasingly integral part of analog life—the distinction between digital and real was erased. Countless initiatives in advertising and brand management have since followed this «Design Your Life» approach. From Hornbach’s «Make it your project» (2009) to Apple’s ’Your Verse” in 2014 to Adidas’ flagship store in London (2021).

Digitalization has reached its limits

The balanced combination of tradition and innovation, people and technology, and digital and analog is often neglected in the context of digital transformation and the digital lifestyle. When it comes to «digital transformation,» questions related to topics such as the «customer journey» and «storytelling» are often answered with a clear commitment to—or even a compulsion toward—digital solutions. This imbalance becomes apparent when searching for the right content, the right locations, and the right tools for the target audience:

• With so many digital tools and providers available, it's easy to lose track of them all.
• Time is wasted and resources are squandered.
• It is difficult to select and make effective use of digital opportunities, and analog potential is often overlooked.

And what about the analog world?

People have a need for experiences and stories, for «real» informal interaction with others, and for tactile sensations, experiences, and the joy of living. Likewise, the analog world addresses our need for a break—a time when we can look away from our screens. But it also addresses the need for clarity, order, and structure. Digitalization and the digital lifestyle thus reach their limits. Digitality and «Design Your Life» are the contemporary approaches that transcend these limits. Digitality is the next stage in the evolution of digitization. But what does the perspective of digitality mean for the customer journey and storytelling? What we need in the age of digitality is something that has always been important: meaning, reason, and a sense of proportion. The connection between tradition and innovation. Harnessing digital opportunities while preserving analog potential. No matter how much the technical landscape has changed, the fundamentals of human behavior and needs have remained the same: People love experiences and stories—that is, the «customer journey,» »experience,» and «storytelling.» And both require one essential element: content. It comes down to the fundamental questions: What is my content (content refers to all forms of material, but also products)? What story do I want to tell based on my content? How do I accompany my customers on their journey toward or with my product?

Consumer Experience in Cross-Media Content Management

Creating experiences and telling stories—where it makes sense. Online and offline. Tailored to the values of people in the digital world. So that brand identity becomes part of the target audience’s identity. Cross-media content and identity management—digital and analog. The central building block here is the content itself.

1. The content must be customized and tailored to the needs of my clients.
2. The aesthetics of the content play a major role—not only in terms of design, but also in terms of clarity.
3. Content, journey, and storytelling must serve to connect people in two ways: first, by connecting people with one another—primarily companies with customers, and secondarily, where applicable, customers with one another. Second, they must facilitate the integrated use of various media and technologies: both digital and analog media are equally important—this is often referred to as cross-media content management.

«Henssler's Quick Fix»

One example is «Henssler’s Quick Fix.» The concept of «quick cooking» is promoted by renowned Michelin-starred chef Steffen Henssler across various online channels to appeal to an urban, working professional audience. The goal is for this audience to follow his channels and purchase Henssler-branded cooking products. The aesthetic of his content (videos, particularly on YouTube) is deliberately informal and imperfect—the camera shakes, and information such as the store address is handwritten on cardboard boxes and held up to the camera. Viewers get the feeling that they’re looking over the shoulder of a good friend. And even the Michelin-starred chef remains relatable by making small mistakes.

What we need in this digital age is something that has always been important: meaning, reason, and a sense of proportion.

Here, the interconnectedness takes place, on the one hand, through the comment feature on YouTube, as well as through references to other videos and the online store, where viewers can purchase the various products (ranging from Henssler’s spice blend to specialty cookware) featured in the videos. In addition to the digital platforms, there is, of course, the classic print cookbook. Its distinctive aesthetic helps the target audience feel an emotional connection to the protagonist. Henssler’s products, as a brand, can thus be integrated into the target audience’s value system. Apps and other tools are by no means sufficient. Rather, strategies and roadmaps focused on the target audience’s value system are crucial, along with a good mix of digital and analog elements. That is digitality.

Definition: Digitality

«Digitality,» a portmanteau of «digital» and «reality,» unlike «digitalization,» transcends the distinction between «digital» and «analog.» Digitality focuses on the interconnection between the digital and analog realms and emphasizes the interaction between digital-technical infrastructure, services, and products and the analog world (social, cultural, political, and economic). At the same time, “digitality” reveals how the concept of the lived world and spaces of interaction is expanding, as these spaces and places are now both “digital” and “analog.” This shift marks a move away from the notion of digital virtuality toward digital reality.

The Main Directions

Digitality has two main strands: the «culture of digitality» according to Stalder and «identities in digitality» according to Schier. Felix Stalder’s “Culture of Digitality” (2016) is particularly widespread in the humanities. “Identities in Digitality: From the ‘Digital Lifestyle’ to ‘Design Your Life’” (Schier 2018) offers a perspective that is more closely tied to everyday life and identity. This more practice-oriented perspective offers a wealth of solutions and answers to the problem of digital-analog imbalances.

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* Dr. André Schier As the owner of nuw.digital, he advises organizations and individuals on their journey toward healthy living, working, and learning in a balance between the digital and analog worlds. He teaches in the Department of Marketing and Digital Media at FOM University of Applied Sciences in Cologne.

Socrates put it this way: «Young people these days love luxury. They have bad manners, despise authority, have no respect for their elders, and chatter instead of working. Young people no longer stand up when older people enter the room. They contradict their parents, brag in public, devour the desserts at the table, cross their legs, and bully their teachers.»

This was written by the Greek philosopher, and—to put it bluntly—it’s been a few years now. If we want to know how the established generation of creatives views the next generation in 2022, let’s return to the present.

Creatives Under 30 in the Competition

The ADC and Leading Swiss Agencies (LSA) support up-and-coming creative talent through initiatives such as the Ad School. In addition, the ADC presents the Young Creatives Awards every year. These awards recognize outstanding communication work by people under 30. The creative challenge comes from one of the partners and is presented to all interested creatives under 30 at a joint meeting. Participants work in groups, usually in pairs. After the entries are submitted in the various categories, the jury—composed of renowned creatives and the partners—meets to evaluate the work and award gold, silver, and bronze prizes. Anyone who receives an ADC cube is eligible to become a member of the Young Professionals and, if possible, travel to Cannes—specifically to the Cannes Lions, where the world’s best creative work is honored each year. Following the COVID-19 pandemic, the creative elite met in person again this year.

Hardworking, ambitious, and self-assured

Six young Swiss men and women had the opportunity to travel to the French coast this year after winning an award at the ADC Young Creatives. On the following pages, four renowned senior creatives describe what sets these up-and-comers apart and why it’s worth nurturing these talents early on.

Scenes from Cannes

What the veterans say about the young women is one thing, but what do the up-and-comers say about the Cannes Lions? What’s it like to experience the Croisette in a state of excitement, to see the creative elite partying at events? m&k/Werbewoche was also there and asked some questions.

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Samuel Textor, Best regards:

Someone recently said to us, «Why don’t you turn your agency into a school?» And they were serious. At Freundliche Grüsse, we see it as our core mission to nurture and train young talent. Here, even very young talents are given a great deal of responsibility and can make decisions on their own. Mara is a prime example of how this approach can be put into practice—and, above all, succeed. After all, it takes two sides: On the one hand, you need to have the trust and the willingness to delegate responsibility. On the other hand, you need the necessary self-confidence and skill set: the courage (even at a young age) to make important decisions, work independently, and bounce back from mistakes.

At just 25 years old, Mara is already extremely independent and manages large budgets.

At just 25 years old, Mara is already extremely independent and manages large budgets, pitches, and photo shoots as if she had 25 years of experience. She has direct contact with clients and delivers presentations with great confidence. She consistently impresses with her keen eye and proactive ideas. She sees opportunities where others see problems and finds inspiration in the everyday. She brings it all together with her impeccable sense of style. She finds inspiration everywhere: in pop culture, in art, in everyday life, and in the work of others. She picks up on international trends and effortlessly incorporates them into her own work. And she is a dedicated mentor to other (including older) colleagues.

Mara is indispensable

Mara is an absolutely indispensable part of our team. Working independently is essential for her—which, we’ve heard, isn’t necessarily the case for many of her peers at other agencies. We’re glad to provide the creative environment she needs. She is a member of ADC Europe and was recently invited by an international jury to present her work at the «High Potential» mentoring event. On her own initiative, Mara participates in creative competitions, such as the Young ADC, where she won gold twice in a row. Among other things, she came up with a strikingly simple idea for McDonald’s: the fast-food chain’s delivery time—which takes just a few minutes—is dramatized through short videos featuring images of fries or hamburgers that load slowly. As soon as she shared this clear concept, we knew: This is going to be something special. She has an unerring instinct for ideas and visual disruption, as well as a belief in advertising that creates meaning—including from a social perspective.

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Philipp Skrabal, Farner:

Where should one begin when writing about the two ADC Young Professionals, Yves Marty and Gianluca Trezzini? How about with their close friendship? Or the fact that they’re both career changers who only recently completed their degrees in business and law, respectively? Or the fact that they’re not just creatives, but have also been co-founders of their agency, Marty/Trezzini, since 2018?

Where should one begin when writing about the two ADC Young Professionals, Yves Marty and Gianluca Trezzini? How about with their close friendship? Or the fact that they’re both career changers who only recently completed their degrees in business and law, respectively? Or the fact that they’re not just creatives, but have also been co-founders of their agency, Marty/Trezzini, since 2018?

The two of them consistently embody this philosophy in their everyday lives, driven by idealism. They seek to connect and engage with their generation, other agencies, and the ADC. They want to gather knowledge and bring talented people together. And they also want to contribute their ideas to the ADC and the industry—we’re happy to accept that, because if Yves and Gianluca represent the young generation of creatives, then we have a bright future ahead of us. Now the two of them have headed off to Cannes. I’m curious to see what kind of crazy ideas they’ve brought back from the Côte d’Azur.

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If someone asks me why you two are such talented creatives, the answer is the same as it was 100 years ago. It’s that unquenchable hunger—or, to stick with the big cat metaphor for a moment, the hunting instinct. That’s exactly what’s so pronounced in both of you—to the point that we never have to motivate you; on the contrary, sometimes we have to protect you from yourselves, slow you down, and tell you that it’s absolutely okay to go home now. Your incredible inner drive to always go the extra mile—to absolutely want to take part in the next pitch, to absolutely want to tackle yet another briefing, and even to have a client’s birthday card ready before anyone else even knows it’s her birthday. That’s why the second word that comes to mind when I think of you is «on the side.» Because you joined us as juniors, you’ve inevitably had your fair share of messes to deal with. But just on the side, you’ve also won the Young ADC—and in categories that are rather unusual for you: the very, very digital Katha just happened to win in Poster, and the very, very text-oriented Alina just happened to win in Direct. And just by the way, you’ve been managing entire accounts here with us for quite some time now. And just by the way, you’re continuing to grow—and, through your approach, helping us grow too—every single day. These are the things that set both of you apart in equal measure.

What sets you two apart? One is probably the only vegan lioness in the world, and the other is probably the only lioness who needs a Red Bull before she goes hunting. One is perhaps a bit more like Mozart in her way of thinking, the other maybe a bit more like Ricky Gervais. One is the perfect conversation partner for discussing world peace and what it takes to achieve it; the other is the perfect conversation partner for laughing yourself silly, syllable by syllable.

So as I lie here on my rock in the sun, I really have only one wish: Stay in our pride, dear lionesses, and let’s keep hunting together.

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David Hanselmann, Jung von Matt Limmat:

A selfie stamp? Yes, they exist. Two million copies are in circulation, designed by Nicole Jara Vizcardo. The Swiss Post and bachelor’s students in Visual Communication at Zurich University of the Arts were looking for an idea for a special stamp on the theme of «Letter vs. Email» as part of a competition. Nicole won over the jury with her design: a stamp with a silvery, reflective surface that depicts the selfie—a phenomenon that exists only in the digital world—in analog form.

Born in Peru, she developed a strong affinity for digital technology at a young age—her father worked at IBM. Driven by curiosity, she experimented with websites and taught herself how to use her first design programs. This was at a time when there weren’t tutorials for everything yet. After graduating from business high school, she started as a web production assistant. When the creative department recognized her keen eye for design, she was entrusted with more and more design tasks, and so she became familiar with new professional fields within the company. She was fascinated by solving client challenges or creative problems with innovative ideas and unexpected solutions. It was clear to Nicole: «I want to become an art director.» Always with this clear goal in mind, she began her studies in Visual Communication at ZHdK, worked part-time at Apple as a Customer Journey Specialist, at a fashion magazine, studied under Jessica Walsh in New York, and completed an internship at On as a Digital Brand Designer.

Lots of joy and self-motivation

Today, as tasks become increasingly complex and new challenges constantly arise, we need specialists from a wide variety of disciplines who, working closely together and with great passion, are constantly breaking new ground. It is precisely here—between a vibrant agency culture and the drive to build momentum—that today’s art director truly thrives. With great enthusiasm and self-motivation, she seeks out big ideas and excellent design. The desire to keep improving and to win—that’s what drives Nicole. We love that at Jung von Matt. It’s even printed as a motto on our agency’s own beer bottles.

Nicole and her team’s final project at the Ad School last summer was awarded a Gold Cube. And at Switzerland’s most prestigious competition for young creatives, the ADC Young Creatives Award, she and her teammate also won gold in the Cyber category.

Through infotainment covering topics such as family, diversity, food, and sustainability, Coop aims to draw the younger generation’s attention to itself and its private-label brands and formats, such as Microspot, Import Parfumerie, and The Body Shop. «There’s great potential in terms of communication with Generation Z,» says Daniele Turini, Head of Digital Content at Coop Content House. However, he notes that «scoop!» is not a marketing platform, but rather a channel for corporate communications, similar to the Coopzeitung and Coopzeitung Weekend. (Werbewoche.ch reported). Products would also be featured on «scoop!». «Of course, but in a way that offers clear added value for the community,» the Basel native continues. After all, they are well aware that Gen Z is extremely skeptical of advertising messages.

Concept tailored to the target audience

Part of the concept for «scoop!» was a survey that revealed that the target audience is only marginally aware of Coop on social media—and primarily perceives it as a grocery store. The new digital magazine, however, aims to put the entire Coop Group in the spotlight, just as the Coopzeitung and the Coop-Zeitung Weekend do. «To that end, a corporate identity designed specifically for the target audience was developed,» reveals Claudia Hierholzer, Digital Producer at Coop Content House. The wide range of Coop brands could thus be incorporated into the various thematic sections or appear selectively at times, for example in the form of special offers. This allows for repeated connections to the respective brands, explains the 29-year-old. In addition to the aforementioned survey of the target audience, insights from studies and agencies were also incorporated into the concept. Content from «scoop!» was also tested with the target audience in advance.

Since early May, things have been happening on Instagram (@scoop.mag) such as «role models in games» or the question of «whether caffeine really gives you a boost.» In a video produced by the «scoop!» editorial team, singer-songwriter Gian from Basel explains «how Spotify has changed the music industry and why fake streams are harmful.» On the TikTok profile (also @scoop.mag), you can see influencers—such as on «Good Deed Day,» when one of them «turns into a do-gooder» right before your eyes. Since Instagram isn’t exactly the same as TikTok, the editorial team approaches each platform differently. The digital magazine’s concept initially focused a bit more on Instagram, but this is now becoming more balanced, as Hierholzer says: “We’re in the process of expanding our TikTok concept,” without revealing any more details.

The focus should be on the users

«scoop!» maintains an in-house production team. The topics for the posts are determined at a weekly meeting. It’s important here that the community always has a say in setting the topics. What’s unique is that certain content from the participating influencers is often only available on their own social media channels. «These days, brand communication also involves faces,» explains Turini, head of digital. Young people no longer want brands to spoon-feed them information. Even the most stylish design won’t help in that case.

«If »scoop!« content is better suited to other profiles due to its nature, then it can also be featured there.» Coop’s new digital magazine thus pursues a kind of omnichannel strategy, «always with the goal of putting users first.» The influencers« content always falls within their area of expertise, explains Claudia Hierholzer. For a given piece of content, the editorial team simply provides the creators with guidelines on what the topic block is about. What they then produce in detail for that topic is always up to them. »After all, we work with them because we like their content. That’s why we don’t want to interfere,« notes the Basel native. The »scoop!” team can be described as a kind of interdisciplinary task force. In addition to a project manager, the team includes digital producers with various areas of expertise. At its core, there are about four to six people who work on “scoop!” on a part-time basis.

Topics «for me and you»

When it comes to influencer collaborations, the focus is on social media personalities with a relatively modest number of followers. Why? There’s a simple reason for that, says Claudia Hierholzer: «The »scoop!« brand isn’t meant to consist of just one or two famous faces; rather, it’s an interactive concept in which users themselves also have a say.» The collaboration partners (i.e., micro-influencers or other brands) are selected to match the specific themes. «scoop!» represents the entire Generation Z. «There are different preferences, and everyone should feel included,» explains the producer. “For you and me, too,” she adds with a laugh.

The goal is to introduce young people to Coop, its values, and its various brands.

As mentioned at the beginning, the goal is to introduce young people to Coop, its values, and its various brands. If this also allows us to showcase products, so much the better. However, the editorial team’s most important principle is to always cover topics that interest the young target audience. «Not every section has to be entirely focused on Coop, but to balance that out, we always include interesting offers such as discount codes, giveaways, and so on.» To some extent, this is also the USP of a consumer magazine, explains Daniele Turini. According to the Head of Digital Content at Coop Content House, the response to the launch of the new network has been extremely positive: «Early indicators show that »scoop!« is resonating with the target audience, and that’s what ultimately matters to us.» The «scoop!» editorial team, which is part of the corporate communications department, adheres to global standards: “We want to reach as many young people as possible and interact with them,” says the 37-year-old. Of course, the team also has quantitative metrics that it must report on and account for at the end of each month. However, Turini does not wish to go into further detail.

He’ll only reveal this much: The pilot phase of «scoop!» will last until next May. «During this time, we’ll be testing various ideas that will be crucial for the project’s future course.» Ideas for the magazine’s future already exist. However, the head of Digital Coop Content House does not wish to provide any details on this at the moment. «Our goal is to grow alongside the consumers of tomorrow and create a platform on equal footing where people can discuss issues—but also have a good laugh,» says Turini, describing the company’s expectations.

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INTERVIEW

«The »scoop!' team seems to be a perfect fit for the community"

Patrick Wehrli, Head of Coop Content House

m&k: Patrick Wehrli, how satisfied are you with the launch of «scoop!»?

Patrick Wehrli: I'm absolutely thrilled. The «scoop!» team interacts with the community as equals and seems to perfectly meet their expectations, both with the content published so far and with its visual presentation.

How did «scoop!» come about?

We have long been convinced that a digital magazine developed with users« needs in mind can appeal to the younger generation and spark their enthusiasm for our broad range of topics. In addition, our goal was to create a digital umbrella encompassing all companies and formats within the Coop Group, just as the Coopzeitung and Coopzeitung Weekend have already done successfully in print. It was on this foundation that »scoop!” was born.

Was it difficult to convince Coop's management of the merits of the «new baby»?

Not at all. Management was enthusiastic about both the potential and the concept of «scoop!».

Your new customer magazine is aimed at Generation Z. Weren't you able to reach young people with the Coopzeitung Weekend?

«scoop!» is the perfect addition to our media portfolio: In addition to the Coop newspaper, which is primarily read at home by people over 40, and the Coop Weekend newspaper, which is aimed at 25- to 40-year-olds on the go, we intend to use «scoop!» to fill the gap among those under 25.

You are 52 years old. Are there people in your circle who belong to the «scoop!» target audience whom you regularly ask for feedback, or do you yourself understand Gen Z?

As the father of two children aged 17 and 19, I’m fairly familiar with the world of Generation Z, and I get a very direct and honest sense of what they like about «scoop!»—and what they don’t.

How long will it take before the competition «scoops» you?

Funny play on words (laughs). Given our strong ties to the Coop Group, the concept and range of products probably won't be all that easy to copy.

Brands live in the minds and hearts of their consumers. It is therefore the most important task of marketers to bring them there, anchor them there, and thus lay the foundation for the exchange relationships through which companies secure the funding for their activities. In a market economy, a wide variety of offerings compete for consumers’ interest, favor, and purchasing power. Sponsorship—defined as a partnership between a brand or company and organizations or individuals in the fields of sports, culture, science, the environment, or social causes—can make a significant contribution here. This applies to brand awareness, brand appeal, as well as the acquisition and retention of customers.

94.3% of Swiss people are interested in at least one cultural genre

Sponsorship is suitable for both B2C and B2B target audiences. One example of this is Formula E, the global electric car racing series: While the Julius Bär brand generates global brand visibility through its involvement, it simultaneously shifts its image toward innovative and more environmentally friendly aspects. In addition, it offers its clients hospitality packages at race events that appeal to both existing and potential clients. Last but not least, the sponsorship provides numerous opportunities to discuss financial products related to innovative mobility or environmentally friendly technologies. The same platform is also used by ABB Asea Brown Boveri, though with the goal of demonstrating its own technical expertise and informing and supporting industrial customers in product areas relevant to ABB—such as charging stations or the application and control of electric drive systems in the production processes of automakers.

«What kind of information are you looking for? Probably information on topics that interest you personally, regardless of the media channel.»

Sponsorship thrives on topic relevance and timeliness. As is generally the case in human or systemic communication, perception is the starting point of the process. Consider your own behavior for a moment: What kind of information do you seek? Most likely, information on topics that interest you personally, regardless of the media channel. Timeliness serves as an additional incentive—one that sports, in particular, makes excellent use of to continually engage interested audiences with its content. We also know from scientific studies that, in addition to relevance and timeliness, a content-based fit is one of the key prerequisites for the effectiveness of sponsorship as a communication tool. This means that there should be a similarity between the partners—the sponsor and the sponsored party: This can be expressed through regional proximity, the use of the product within the context of the event (whether as a charging station at the racetrack or as a snack on the couch), as well as in terms of the partners’ images and brand values. It is important to convey to the target audiences why a brand and a platform are forming a partnership: Here, a functional connection can be cited (e.g., mobility or insurance partners), as well as the values both represent (e.g., sustainability or diversity).

Well-orchestrated and actively implemented sponsorship thus becomes a key component of effective communication—with content that is relevant to society and the economy.

When selecting relevant topics, marketers can rely on the Market Analysis Sponsoring (MA Sponsoring) report—in addition to their own market research studies—as an objective, up-to-date, and compliance-compliant data source. This allows them to analyze which topics are relevant to a specific target audience, whether the brand and the sponsorship platform are a good fit, and which media channels are suitable for activating a partnership. And, of course, the brand can also track the effectiveness of its engagements, e.g., through changes in market share within the communities of the respective platforms—both at the national and regional levels. Such analyses should be supplemented by competitive intelligence, as the perception and optimal use of partnerships depend on whether the topic and platform are used exclusively or shared with many others.

91.3% are interested in at least one sport

In today’s key areas of marketing and communication, there are many fields where sponsorship can play a central role—for example, customer centricity and customer journey, content and influencer marketing, or purpose. When a brand associates itself with a topic or piece of content that is highly relevant to its target audience, this is certainly an expression of customer focus. When such content—whether in the form of text, still images, and/or video—is conveyed through the brand’s own channels as well as other media channels throughout the customer journey, it sets a chain of events in motion that engages the target audience in continuous and interactive communication with the brand. One example is Raiffeisen’s offering on welovesnow.ch. Of course, partnerships such as the one between Raiffeisen and Swiss Ski can also generate influencers who then serve as testimonials or media representatives (or a combination of both).

39% volunteers in sports, culture, the environment, or social causes

When communicating purpose, sponsorship comes into play through its ability to convey a community’s values: By partnering with select platforms that share the brand’s values and through corresponding activations, the brand becomes part of consumers’ everyday lives. Such analogies are direct and tangible, creating an impact—a credible effect—that extends far beyond purely advertising or PR-related measures. And when implemented appropriately, they also make a highly effective contribution to employer branding. A scientific study on Rivella’s sponsorship efforts confirms that significant effects can be observed on employees’ perceived image of the company, their commitment to the company, and their job satisfaction.

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* Jean-Baptiste Felten serves on the Sponsoring Committee. One of six expert groups within the SWA.

m&k go!: Mathieu Jaton, sustainability is an issue at all major events—how has Montreux Jazz addressed this issue?

Mathieu Jaton: First, we wanted to analyze what our festival’s ecological footprint actually looks like. That’s why, a few years ago, we commissioned a study conducted by the Swiss Federal Institute of Technology in Lausanne (EPFL). We wanted to know: What makes up the ecological footprint, and where are the pain points?

 

And where are they located?

Well, we’ve been using reusable cups here for several years now. But if you look at the environmental footprint, on-site waste accounts for no more than three percent of the environmental impact—but when it comes to travel, for example, that figure is 54 percent. With returnable cups, the main goal is to keep the festival grounds clean—and in our case, the lake as well—but this hasn’t had a major impact on sustainability yet. Still, of course, both are important.

 

So, is there the most that can be done when festival guests are arriving and departing?

Yes, the question was: What impact can the festival have on this? For example, by offering easy or even free travel via public transportation such as buses or trains. That was—along with measures to reduce waste—the first step.

 

Does this also apply to the musicians' travel to and from the venue?

We have no direct influence over how artists travel. Although they’re increasingly doing so by bus rather than by plane. Awareness in the industry has grown, and things are changing: The band Coldplay, for example, has set a goal of completing a «clean tour.».

 

What exactly did Coldplay do?

They said they wanted to turn their current world tour into a «green tour»: And the most important thing was the travel: When you have 100 people working on a tour and you’re flying from place to place, that’s not really eco-friendly. So Coldplay is increasingly touring by bus.

 

So travel and transportation account for the largest share—what else is there?

Lighting and sound, of course—a festival requires a fair amount of electricity—which is why we’ve partnered with Groupe E and Romande Energie. For some time now, our Hospitality Garden has been powered solely by energy from the on-site solar panels.

 

Why are you implementing all these measures?

We don’t do any of this to use it as a marketing pitch or to look good in the media. We see it more as a responsibility. Everyone should do what they can from their own perspective, with the resources and opportunities they have. If you look at a festival like Glastonbury, for example, which has 150,000 visitors a day—you can’t just say, ’No one is allowed to drive there.« It’s so far from London that you can’t expect the festival to become eco-friendly in terms of transportation overnight. While the organizers should certainly think about how they can work toward that—it’s all too easy to say that they have to do this or that. But there isn’t just one solution.

 

Radical environmentalists might say that festivals are generally bad for the environment—and therefore need to be abolished or at least scaled back.

There are always political, cultural, and economic aspects to consider. In Montreux, the tourism aspect comes into play as well. If the Montreux Jazz Festival were only half as big and there weren’t so many cars and people here, that might be good for politics, but it would be a disaster for the economy and tourism, as well as for the hotels and restaurants. Of course, it’s a matter of balance. The new city government in Montreux leans more toward the green side. Naturally, they’ll try to push for greater sustainability, and that’s a good thing. But the main discussion we’re having with them is how we can strike that balance, because we can’t get any smaller—but we don’t want to grow either.

 

So drastic measures implemented overnight are unrealistic?

When we’re organizing a festival with 20,000 people, we can’t just say from one day to the next, ’We don’t want any more cars in the city.« However, two years ago we started working with Stromer Bikes—they’re great e-bikes. We started on a very small scale. We provided these e-bikes to visitors, including the artists, simply to raise awareness of the issue.

 

Does an event like the Montreux Jazz Festival serve as a role model of sorts?

As such an important festival, we have a certain influence when it comes to communication. We use that in a positive way. For me, Montreux’s strategy is that we are first and foremost a music festival—but we also have a responsibility to make this festival as sustainable as possible. Not only in terms of the environment, but we also include people with disabilities.

 

How does that work?

For the past 20 years, we have also been organizing concerts for people with disabilities, including those with hearing and vision impairments; among other things, we have concerts interpreted in sign language. We organize concerts and music events in the park with people who provide live interpretation; the initiative is called «Singing Hands.».

 

So there are deaf people who come to the music festival?

Yes, «Singing Hands» has female translators. Deaf people can feel the music, and that way they, too, can experience what it’s all about. Honestly, when you see the smiles on people’s faces when they have the chance to have these experiences, it makes me so happy. But even here, it’s not about saying, “Hey, media, look at what we’re doing!” The most important thing for me is that the people who can benefit from it are happy. We don’t use this for marketing purposes.

 

Diversity, inclusion, sustainability—these are important issues for the Montreux Jazz Festival.

I'm not saying we're doing everything right. No, we can always do better. But there's an awareness and a desire to take action. That's a challenge for the world, a challenge for everyone, and definitely a challenge for all festivals.

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The Montreux Jazz Festival is an annual music festival held in July in Montreux, in the canton of Vaud, Switzerland. The festival is one of the most prestigious in Europe and one of the largest in the world. Mathieu Jaton has been the festival's director since 2013.

Currency research is characterized by the fact that it collects data that is recognized and used by all market participants. The results are therefore used by researchers, government agencies, program creators, and the advertising industry. For those involved, the data serves as both a benchmark and a trading currency.

The three media research institutes perform an important function, which is why it’s time to take a closer look. Without Mediapulse’s TV and radio data, for example, program makers would have no way of knowing what their audience demographics look like. The regulator would have no idea what impact public funding has on the media, and the advertising industry would lack the foundation needed to conduct data-driven advertising planning and analysis. Mediapulse is the audience measurement company for TV, radio, and online. A large portion of the market is represented on Mediapulse’s committees. A distinctive feature of Mediapulse is that its mandate for TV and radio research is enshrined in law. As a result, the company is subject to oversight by OFCOM.

World Premiere at Mediapulse

In 2020, Mediapulse relaunched its online research. Since last year, the Bern-based company has been publishing what is known as «Online Content Traffic Data» for the first time—that is, technical data on visits to Swiss publishers’ websites and apps. “This fall, we’ll be able to publish Audience Data for the first time, which will show how many people use online offerings and what their sociodemographic profile is,” explains Tanja Hackenbruch, CEO of Mediapulse. Online campaign research will follow next year.

In the field of TV research, Mediapulse will celebrate a world premiere next month. Starting July 1, data from approximately 160,000 Swisscom and UPC set-top boxes will also be integrated into the research. «With this hybrid measurement system, we’ll be able to track TV viewing in even greater detail, and our research will be even more future-proof,» says the 46-year-old CEO of Mediapulse.

With the hybrid measurement system, we track television viewing in even greater detail.

In the field of TV research, Mediapulse will celebrate a world premiere next month. Starting July 1, data from approximately 160,000 Swisscom and UPC set-top boxes will also be integrated into the research. «With this hybrid measurement system, we’ll be able to track TV viewing in even greater detail, and our research will be even more future-proof,» says the 46-year-old CEO of Mediapulse.

Official currency for the press, cinema, and sponsorship

Today, WEMF is publishing a total of nine media studies. In addition to intramedia studies providing in-depth information about the user base of a specific media category, WEMF also publishes three established intermedia studies (MA Strategy, Total Audience, and IGEM-Digimonitor), which take into account the market trend toward all-media. In addition, WEMF publishes MACH Consumer, Switzerland’s largest annual consumer media study.

The user base for WEMF figures is diverse. The independent survey by the Media Research Group shows that the WEMF studies MACH Basic, MACH Consumer, and MA Strategy are particularly popular. «Cross-media studies are becoming increasingly important because former print publishers are increasingly evolving into media companies with multiple media formats, and advertising campaigns appear across various channels,» explains Marie-Ange Pittet, Director of Product Management at WEMF. According to the 34-year-old, the WEMF portfolio of studies is continuously being refined to address new market needs and scientific findings. In the fall of 2021, the psychographic study MACH Values was launched as the successor to MACH Radar. The MA Strategy now includes social media channels, and an expansion of the media list is planned for fall 2022. In addition, WEMF is collaborating with Mediapulse on the future publication of the Total Audience study.

National Mobility Model by Swiss Poster Research Plus

Let’s take a look at the third member of the trio, SPR+. To calculate contact rates and reach for both traditional and digital outdoor advertising spaces and campaigns, the Zurich-based company has developed a model designed to reflect reality as accurately as possible. To this end, large amounts of data from various sources are collected, analyzed, and processed. The idea is to use daily traffic volumes on specific road segments to calculate the average number of people who encounter an advertising space. «Our currency for analog out-of-home and digital out-of-home (DOOH) is the only one in Switzerland that is visibility-weighted,» says Felix Mende, the 49-year-old CEO of Swiss Poster Research Plus AG. A «contact» means that an ad or poster was physically visible and viewed by human eyes. IGEM Director Siri Fischer would like to see the metrics for outdoor advertising—particularly for Digital Out of Home (DOOH)—become more dynamic. For media research companies, technological change is one of the biggest challenges. “This change demands constant development and innovation from us,” Mediapulse CEO Hackenbruch told m&k. But at the same time, he added, that’s what makes working in this field so appealing.

The results are used by researchers, government agencies, program producers, and the advertising industry.

According to Mitja Ruggle, Head of Market Research at TX Group, there is still room for improvement in the field of convergent media audience measurement. Currently, most media audience studies focus on tracking the usage of a single media category. «Due to the fragmentation of media consumption coupled with the ongoing digitization of media—where online must increasingly be viewed as a vector—the need among customers, media producers, and advertisers for more media-convergent approaches in media currency research is growing ever stronger,» Ruggle sums it up. Mediapulse will offer a convergent measurement for the first time in the future. However, this is still contingent on the completion of the online research, and the launch date will then have to be determined jointly by the market, as Tanja Hackenbruch explains. At IGEM, too, a uniform and integrated currency for moving images has long been on the «wish list.» «And last but not least, scientifically derived and neutral research on the attribution of advertising performance and impact would also be most welcome,» says Fischer.

Market research

In addition to currency research firms, there are also operational market research firms such as LINK, GfK, and Intervista. Ringier and Ringier Axel Springer Switzerland also collaborate with these firms on an ad hoc basis. «We regularly commission a few studies of our own to obtain answers to specific questions about reading habits, media usage, or the user market,» says Ringier media spokesperson Daniel Riedel.

In addition to conducting the MACH Basic survey, the market research firm LINK is also responsible for the IGEM-Digimonitor survey and the program analysis of SRG radio stations on behalf of BAKOM. For Sabine Frenzel, Managing Director of Social Research at LINK, conducting her own audience measurement research is out of the question because there are already established audience measurement studies on the market. Furthermore, such studies are methodologically very complex and costly. «It therefore makes little sense for a survey institute to conduct and publish such a study on its own,» Frenzel summarizes.