Christoph Wildhaber: Who is Spar?

André Scherrer: In 1989, the Spar Group Switzerland acquired the license for all of Switzerland from Spar International. Since 2016, it has been a subsidiary of the South African Spar Group Ltd. The Spar Group Switzerland comprises 250 Spar neighborhood markets, Spar Express convenience stores, and Spar Mini stores, as well as eleven TopCC Cash & Carry wholesale markets. We employ over 2,200 full-time equivalent employees—including 254 apprentices. Spar focuses on neighborhood grocery stores, a wide selection of fresh products, attractive prices, a diverse product range including local and organic products, and friendly, knowledgeable staff. Spar Group Ltd. generated total revenue of CHF 7.5 billion in 2021.

Where is Spar International's headquarters located?

In the Netherlands. The company operates in 48 countries under a licensing agreement. This makes SPAR the largest voluntary retail chain, with approximately 13,500 supermarkets and total sales of 39.8 billion euros. SPAR was founded in the Netherlands in 1932; the name means «fir tree» in Dutch.

How is Spar Switzerland's distribution system structured?

Our distribution system is well diversified. One-quarter of the stores are company-owned, while the remaining three-quarters are operated by independent retailers under a franchise system. Independent maxi///-partners and other customers are supplied by Spar.

Franchise partners often seek stability and, as a result, are wary of change. Are this desire and the need to adapt to changing conditions in your industry mutually exclusive? Or is this actually part of the concept?

Franchise partners certainly need stable profitability. I am proud to say, however, that they also recognize the need for continuous improvement. What really matters is that franchise partners have the opportunity to maintain or improve their profitability. It is standard practice in the retail industry that this is only possible through ongoing adjustments and optimizations.

How does Spar address the financial and operational challenges franchisees face when changes are necessary?

We maintain a close and friendly relationship. We see ourselves as service providers and strive to make your lives as easy as possible. In return, we expect maximum performance and a fully customer-focused approach at the point of sale. Thanks to our own stores, we understand the operational challenges and do everything we can to resolve them with the highest quality and efficiency. Our franchise partners benefit from this. Through active and trusting communication, we identify our franchise partners’ financial challenges early on and find effective solutions.

What methods have proven effective in motivating SPAR's sales partners to embrace change?

A major advantage is that we operate our own stores. This allows us to test new concepts, refine them, and demonstrate the benefits and lessons learned to our franchise partners. Our franchise partners can be confident that new concepts will work at the point of sale.

Last year, Spar made a major acquisition of gas station stores by taking over 60 Avia gas station stores operated by Store Service AG. What challenges arose during the integration into the Spar concept, and how did the Avia partners handle these changes?

Working with Avia has been a real pleasure. The integration went smoothly, and we’ve already been able to renovate 60 percent of our stores and transition them to the Spar-express concept. The biggest challenge is certainly looking toward the future—specifically, the new demand for alternative fuels such as e-charge or hydrogen. But thanks to our innovative Avia partner companies, we already have attractive solutions for that as well.

Can we draw any lessons from this for the sales industry?

Sales is about humanity. When we, as franchisors, create optimal economic conditions for our franchisees, that’s good. But what really matters is going one step further. If we can also ensure that our franchise partners feel understood and comfortable, and if we foster an atmosphere of joy and enthusiasm, then we generate passion—or as we say at Spar—«our Spar family.».

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The interview was conducted by Dr. Christoph Wildhaber, managing director of Swiss Distribution. He has been working in the field of distribution for 30 years, including as a lawyer.

»Happy birthday. It's so great to have you in my life—you're beautiful, fantastic, and athletic. Wow.«, »Happy birthday—I could never be without you«, »Happy birthday… I'm so glad you're here«, ’Happy birthday. You’re just so much fun.» What sounds a bit like the sweetest WhatsApp birthday messages from your very best friends is actually pure brand love. For example, at the end of August, the car brand Mini posted a message on its Facebook page announcing that the brand was turning 62; the reactions from customers—or rather, fans—were not long in coming. Full of enthusiasm, they congratulated their favorite brand on its special day—entirely of their own free will and without expecting anything in return.

Love Brands Tell a Story

After all, Mini is a «love brand»—one of those brands that aren’t just bought, but truly loved. With these brands, the relationship between the brand and its customers is so close that it boosts the entire company’s revenue, according to the new report “Brand Love Story” from the social analytics and social listening platform Talkwalker. Brand love, the report states, often leads customers to pay higher prices, fosters stronger brand loyalty, and results in a higher referral rate—and is thus the stated goal of many companies.

«The fans congratulated their favorite brand on its special day of their own free will.»

But what defines «love brands»—and how do companies manage to become one? How do «love brands« differ from strong brands? “The basic idea behind ‘love brands’ is rooted in each person’s individual perception,” says Thomas Ramseier. To explain what defines a “Love Brand,” the Brandpulse CEO cites the model developed by Kevin Roberts, who was the first to discuss love in connection with brands and is thus considered the founder of the “Love Brand” model: “What these brands have in common is a certain mystique—they tell a deeper story—the element of sensuality, meaning they can be experienced with all the senses, and a certain intimacy, that is, a deeper connection with the brand. “One company that has consistently succeeded in achieving all of this for many years is Apple—a company that manages to build such a strong bond with its customers that they’ll wait in line for days to get their hands on the latest products, at almost any price. They remain loyal to the brand their entire lives—and proudly display their love for it to the world. This makes Apple arguably the most prominent example of a “love brand” with loyal fans worldwide.”.

Report: Victorinox Is Popular During Lockdown

In its new report, Talkwalker examined which brands were particularly popular worldwide and in the DACH region during the global lockdown. To do so, the report compared brands across social media, news sites, and blogs, among other platforms, to identify those that people engage with, those that receive less criticism, those with which people have a positive connection, and those that people say they love. Among the findings: Obi, Sennheiser, Rossmann—and Victorinox, a Swiss family-owned company with more than 130 years of history. What is the brand’s secret? «Our brand values—quality, functionality, iconic design, and innovation—have always been extremely important to us. They are the DNA of the famous Swiss Army knife and, at the same time, the foundation for all our products. Our customers appreciate this, and over the years, a relationship of trust and a close connection to the brand has developed,» says Chief Marketing Officer Veronika Elsener. The company maintains a close relationship with consumers across all online and offline channels. «Only by understanding the desires and needs of your consumers can you successfully develop new products over the long term and thus remain relevant,» says the expert.

Fans, not customers

Even newer, but just as beloved, is Tonies, a brand owned by Boxine GmbH. What began in 2013 as an idea from two fathers at a daycare center who wanted to develop a modern audio system for their children has since become a successful «love brand» that is loved and appreciated not only by its users—the children—but also by their parents. So much so that every year, just before Christmas, parents get nervous wondering whether the soft cube—onto which you place an audio figure (something even the youngest children can do intuitively)—is still available to order anywhere. How does an audiobook startup become a «love brand»? «Three things are key,» says Boxine Senior PR Manager Christopher Zurheiden: «Does the brand tell a story that’s emotionally compelling or relatable? Does the product have a unique selling proposition (USP) compared to all competing products, thereby offering real added value? And is the brand approachable, and can customers identify with it?» The company has, of course, asked itself these questions as well—and, according to the expert, “can answer all three with a clear ‘yes.’ The founding story is authentic, and the product itself is unique on the market thanks to its design and high quality. We engage in close dialogue with our fans, take their wishes and suggestions on board, and are not a faceless corporate giant,” says Zurheiden. The most important building block here: “The relationship with our fans,” says the expert. Fans, not customers.

Social media helps with this, because it allows brands to connect directly with their followers and communicate with them. And «Love requires communication,» says Sören Schröder, Creative Director and member of the executive board at Publicis Zurich (see also the separate interview). «If we assume that shared positive emotions are the foundation, then social media makes building a »love brand’ many times easier. Content that resonates is shared and spreads like wildfire, and anyone can act as a brand ambassador on social media. In this way, social media can act as a love brand accelerator.”

Harmonized Brand Strategy

However, effective communication is always the sum of various components in a brand strategy. And only when these are optimally integrated with one another can a brand become a «love brand.» «With love brands, it’s not just the branding that’s great,» says Thomas Ramseier of Brandpulse. “And that’s what stands out with all love brands—whether it’s Apple, Victorinox, the Fiat 500, or Ferrari: The product is right, but so are the stories behind it, the events, and even how management and employees present themselves to the outside world—everything is harmoniously coordinated and authentic. That’s the key factor you need to focus on if you want to become a ‘love brand.’” But that also means a “love brand” can’t be managed solely by the marketing department. Instead, it must be embedded throughout the entire company. Yet even that doesn’t mean a “love brand” can be certain of its fans’ love forever—after all, you have to work on every good relationship. Just like in real life.

 

Interview: «Any Brand Can Become a »Love Brand’”

In this interview, Sören Schröder, Creative Director and member of the executive board at Publicis Zurich, explains what sets “love brands” apart from other brands—and what they’re doing right.M&K What do "love brands" have that other brands don't?Sören Schröder A core group of fans who are true fanatics—in a positive sense. People who unbox the latest product from their favorite brand on camera and tell the world how great it is—without anyone asking them to. But they also evoke positive emotions among the general public; many people have a positive attitude toward these brands. In contrast, there are brands that are successful—sometimes even global market leaders—but fail to evoke any reaction at all among consumers.What specific steps should a company that wants to become a "love brand" take?It must be able to evoke positive emotions on a grand scale. It must inspire such strong enthusiasm for the brand that people tell others about it. A distinctive communication strategy helps achieve this. Genuine originality. Theoretically, any brand can become a “love brand.” The starting conditions, however, vary greatly: If, as a brand, I stand for a product that makes the world a better place, the path to becoming a “love brand” is probably not far off. If, on the other hand, I sell diamond necklaces refined with petroleum and forged by children’s hands, packaged in genuine raccoon fur, the transformation will be difficult.

«Because shared positive emotions are the foundation, social media makes it easier to build a love brand.»

What strategies do big, well-known "love brands" like Apple use that we can learn from?

The most important lesson: Love requires communication. When we stop communicating, love fades. Successful “love brands” know this. They invest a significant portion of their budget in communication to stay top of mind—and continually reinforce their brand narrative by adding new, exciting chapters.

Sören Schröder, Creative Director and Member of the Executive Board at Publicis

The first BEA since 2019 drew 300,000 visitors in early May. That’s more than before the pandemic. The Luga in Lucerne drew 120,000 visitors, roughly the same number as in 2019. However, these impressive figures do not obscure the fact that many trade shows held in 2022, both domestically and abroad, have shrunk dramatically. Patrick Sägesser, Head of Business Development for Trade Fairs at Olma Messen St. Gallen, comments on this as follows: «It shows that the preparation time was still too short in some cases, but that the industry believes in trade fairs as a tool and is therefore investing in them. Our confidence is based on the Tier & Technik trade fair, which was fully booked for February 2022 but had to be canceled due to COVID. The booking figures for the upcoming OBA and Olma 2022 are also very encouraging.»

Delivery and Material Shortages

Where a relentless price war raged before the pandemic, customers now have to be grateful just to find a service provider at all. Gone and forgotten is the era of trade show builders« desperate diversification into other business areas during the COVID-19 pandemic. Exhibition stand construction companies are now booked solid for months ahead. They’re reporting record sales not seen in 15 years. »Rising energy and raw material prices, as well as limited installation capacity across Europe, are presenting us with major challenges,” says Thomas Stenz, Managing Director of Syma Switzerland.

The War for Talent in the Events Industry

The live communications services industry—exhibition stand construction companies, media service providers, event agencies—is facing a dramatic labor shortage following the exodus of skilled personnel due to the pandemic. There’s no doubt about it: In 2022, there will be numerous events that won’t take place at all for this very reason. To a certain extent, this is a comfortable situation for event service providers. But how do I break the news to my clients? «A disaster, to put it mildly.» No matter which sector you look at, the staffing situation is extremely tight. There’s no sign of improvement,« says Michael Dancsecs, co-owner of the event agencies Standing Ovation/Fox. »The labor market is more competitive than ever. You can actually call it a «war for talent.»« »Our approach is to embrace the gaps, but the shortage remains,” says Markus Walder of the event agency Bright. “One of the biggest challenges we face is finding the right skills and resources in the labor market,” adds Beat Zwahlen, CEO of MCH Group. At the end of 2021, the MCH Group won a competition to host the art fair in Paris, named Paris+ by Art Basel. This is intended to both expand international business and strengthen Basel as a business location.

Sustainable Event Management

The live entertainment industry has long been working to reduce its environmental footprint. The Zurich Film Festival (ZFF), one of the largest events in the city of Zurich, operates a fully electric fleet of Mercedes-Benz vehicles. The film festival also avoids using plastic tableware. The ZFF is currently working with a partner to analyze its environmental footprint in order to identify further opportunities for improvement.

«The issue of CO2 reduction is rarely discussed in depth in our industry because the exact implications aren’t clear at all. But where the issue becomes concrete is in the restaurant industry. And this is where we could make a difference. For example, by flipping the script and no longer asking in invitations who wants the vegetarian option, but rather who wants the meat option,» says Reto Leder, CEO of the event venue Trafo Baden. «For the younger generation, meat-free events are a given. They’ve understood that an event is only sustainable if it’s meat-free,» says Felix Courvoisier, managing director of the audiovisual media specialist Seed. «We expect sustainability to become even more important and to be a key decision-making criterion in agency competitions as well,» says Michael Dancsecs.

Events Without a Venue? Merry Christmas

In May 2022, the famous World Economic Forum (WEF)—a major source of revenue for numerous event service providers—took place in Davos, though it received less attention than in previous years. Compared to the pre-COVID years, activity on the many temporary stages was only slightly reduced. Why? People want to meet in person again; this experience cannot be replaced online. On the contrary: While before the pandemic, the «environmental issue» surrounding this mega-event—and, as a consequence, the question of whether such an elite gathering in the Swiss Alps was even necessary—dominated the discourse, people are now simply glad that in-person business meetings are possible again at all. The war in Ukraine, along with the online address by Ukrainian President Volodymyr Zelenskyy, has actually heightened the WEF’s relevance.

The events industry is set to rebound dramatically in the second half of 2022 as well, provided the COVID-19 pandemic doesn’t throw a wrench in the works this fall. «People want to meet in person again,» says Urs Schmid, a member of the executive board at multimedia specialist Smartec. «By Christmas 2022, there simply won’t be enough event venues to meet the high post-COVID demand,» he says.

Digital, hybrid, or live communication?

Will hybrid or digital formats replace live events—or at least partially replace them—in the future? As an event-driven company with a purely in-person trade show presence, aren’t you relying on an outdated marketing tool? «No, that’s nonsense in my view,» said Uli Geiger, Global Brand Experience Director at watch brand IWC, at the Habegger webinar on May 5. «Digital formats like the hybrid »Royaume du Web« will continue to grow. But now, following the trade show industry’s restart, the topic of »digital trade shows» has completely taken a back seat,« adds Claude Membrez, General Director of Palexpo Geneva. »Even if trade show formats have to change—face-to-face contact is irreplaceable; people are social beings,« says Claude Membrez. »The topic of hybrid events won’t be nearly as important as it’s been discussed over the past two years,” confirms Hansgeorg “Hg” Siegenthaler. “The live element in marketing communication is clearly making a comeback.”

Except in exceptional circumstances, people want to meet in person again. «The need to meet in person again is acute. Hybrid events are still only a niche topic today,» Reto Leder adds.

Here's what clients recommend

With a tight labor market, price levels will also rise. But that’s not the only reason: Service providers must offset the sometimes dramatic price increases for energy (gas), event materials (wood), and logistics (transportation) by raising their prices.

«We need to move away from the pre-COVID spontaneity in planning. We therefore recommend that our clients, given the same budget, scale back their events in favor of longer-term planning—or increase their budget,» says Hg Siegenthaler, CEO of the lighting design studio Designlight.

«Exhibitors should decide to participate in a trade show and register well in advance—six to twelve months beforehand, depending on the event,» says Thomas Stenz.

Sabine Neuhaus of the recruitment agency Coople recommends: «The primary goal is to build long-term relationships with agencies, event service providers, and trade show builders—not only to save money, but also to be well-positioned in the medium to long term when it comes to addressing staff shortages and ensuring business predictability.»

Conclusion

«It’s great to see that people are eager to get together again. Whether live events will be larger or smaller certainly depends on the type of event and its target audience,» says Elke Mayer, Managing Director of the Zurich Film Festival, which will take place in Zurich from September 22 to October 2, 2022. «On the one hand, demand for exclusive, smaller events has risen—true to the motto »quality over quantity.’ On the other hand, large events with huge crowds hold a strong appeal because they generate tremendous energy—there’s a pent-up demand for this type of event, which is particularly noticeable among younger audiences.”

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INTERVIEW

«The much-touted return to normalcy will not happen»

Tom Winter, CEO of Bernexpo Groupe.

m&k: The BEA reopened for the first time since 2019, attracting 300,000 visitors—more than before the pandemic. That’s a success. But where does the Bernexpo Group stand when it comes to digitalization?

Tom Winter: We’re continuing our pioneering work in live communication, but not as a forced transformation. In Bern, we’re fulfilling people’s aspirations. Nevertheless, digitalization is increasingly part of our business. Our Bam.Connect is a fully digital event that introduces high school students to career paths and employers. Even after the pandemic, we’ll continue to host purely digital events with up to 10,000 participants. In the traditional live formats of our four areas of expertise—«Vacation & Leisure,» «Industry & Hosted Events,» «Education,» and «Conferences & Events»—the experience remains the central focus. But this experience can be significantly extended through digital means. Networking—bringing the famous community together—would be very labor-intensive today if done solely through our transaction-oriented industry platforms, but it’s much easier via digital platforms. They will always complement events, but they won’t replace them.

 

At the opening of the BEA, you said, «The BEA is a phenomenon. It will remain that way for a long time to come.» Where does this confidence come from?

Taken as a whole, the BEA offers a glimpse into the spirit of Bern. In this universe, new themes are constantly emerging, while others—supposedly—fade away. But we have exhibitors who posted record sales in 2022. Thanks to the dynamism of this universe, the BEA ecosystem is very robust.

 

What challenges are you currently facing the most?

This is the revitalization of the exhibition grounds, centered on the landmark project of the new Festhalle, which is set to open in 2025. It is at the heart of a transformation that will turn the site into a modern hub with deeper ties to the city and the Wankdorf Quarter. Catering will be a cornerstone of this transformation.

 

What do you say to exhibitors who ask, “Has the trade show as a marketing tool passed its peak?”

We have to accept that product launches no longer take place at our trade shows. Trade shows are no longer a sure thing. If there isn’t a critical mass of exhibitors to hold a trade show, it can trigger a domino effect. To get things back on track, we’ll need to make a special effort. The status quo—the much-vaunted «new normal»—will not return automatically. However, trade shows can prompt a marketing team to refine its core messages, product portfolios, and presentations in such a way that they decisively complement and complete the entire marketing mix. For those who do so, trade shows will remain the gold standard in the «competition of vanities» well into the future—a fruitful ritual in the annual calendar. That’s not possible from a home office.

It's the hundred-point question that private media companies ask themselves time and again - indeed have to ask if they want to survive: How do we get people to pay for news? There is no simple answer, but there are sobering figures: Less than one in five people in Western countries - from the USA to Poland - pay for online news. Switzerland and the Netherlands are in the middle. In both countries, 17% of the 2000 people surveyed stated that they had spent money on online news in 2020. This figure has increased steadily in recent years. But at the same time, publishers are continuing to lose print subscriptions. The bottom line is that for many, the calculation does not (yet) add up. The frequently cited examples of success that can be found everywhere cannot hide the fact that the subscription market is fundamentally tough.

But why does even an interested audience find it so difficult to pay for journalism? Tim Groot Kormelink provides some revealing answers. For his qualitative study "Why people don't pay for news", the assistant professor of journalism at the Vrije Universiteit Amsterdam provided 68 people with a trial subscription, print and online. They were able to choose from the subscription offers of four Dutch daily newspapers. After three weeks, the researcher interviewed them in detail about their experiences.

No additional budget for news

The author's findings were as sobering as they were surprising: of the 68 people between the ages of 20 and 75, 36 women and 32 men, all with a "relatively high level of education", none stated that they wanted to buy a paid subscription to the tested title after the trial period had expired.

The "subscription saturation" also speaks against a subscription, as you already pay for so many services on the net.

No additional budget for newsThe author's findings are as sobering as they are surprising: of the 68 people between the ages of 20 and 75, 36 women and 32 men, all with a "relatively high level of education", none stated that they wanted to buy a paid subscription to the tested title at the end of the trial period.

Reference is a shared Netflix subscription

An obvious and frequently heard reason for not wanting to spend money on online news is that the subscription price is perceived as too high. "In view of the fact that price is the biggest barrier to subscribing, participants argued that a more attractive price could convince them to subscribe to news," writes Groot Kormelink. Younger media users in particular had a very concrete idea of pricing. For them, 3 to 5 euros per month would be reasonable. The price of a shared Netflix or Spotify account serves as a reference.

For younger people, the limited budget is a hurdle: Additional expenditure means doing without elsewhere.

Another argument against subscribing is "subscription saturation"; people already pay for so many streaming services, digital platforms and other media offerings. This is also directly related to the fear of not using the news from the newspaper you subscribe to enough and therefore spending money for nothing. After all, there is still an abundance of free news available online, which is the second most important reason after price for not buying an online subscription. In the Netherlands, where the study was conducted, there are two major free providers: the public broadcaster NOS and the commercial news portal "NU.nl". However, podcasts are also a popular free service.

Attachment anxiety when choosing media

Younger people in particular also show fear of commitment when choosing media. They obviously see paying for a subscription as a commitment they are not prepared to make. The decision to subscribe to a particular title always means deciding against many other equally valid offers. And behind this hurdle is another one: anyone who decides to subscribe at some point should then also read what he or she has paid for. Anyone who finds this (self-)obligation too onerous will decide against a subscription and snack here and there on the large free offer.

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This article first appeared in Medienwoche.

m&k: You are often quoted as saying that your childhood and teenage years shaped you into the person you are today. What was your upbringing like?

Bozoma Saint John: My parents are originally from Ghana, but I was born in the United States. My father earned his doctorate in the U.S.; I was born five months before he received his degree. And right after that, my parents left America again, which is rather unusual. I think most immigrants come to the U.S. to live the «American Dream.» They want to get an education; they want to build a life for themselves here. But my mother and father are proud Africans; they said to themselves, «Okay, we’ll take this great education back home with us—and give something back to our homeland.» So my dad started giving lectures at the university in Ghana and then went into politics. He comes from the same region as Kwame Nkrumah, Ghana’s first president—representing that region was a great honor for him. Unfortunately, in the late 1970s, there was a coup led by a man named Jerry John Rawlings, a military officer. He overthrew the government, sent many politicians to prison—or had them killed outright.

 

Those must have been very dangerous times for your family …

Rawlings’ people detained my father for a little over a year, yes. That was terrible for my family. My mother managed to flee with my two younger sisters and me while she was pregnant with my third sister. We went first to Washington, then to California, then to Nairobi—and then back to the United States, where we settled permanently and where my father was also able to rejoin the family. So I was used to traveling around a lot (laughs)…

So you were born into a very loving family, but not into a life of complete security and stability. Still, you've always managed to adapt.

I think we all face situations in our lives that can go one way or the other. If I had become a criminal mastermind (laughs), someone would probably point to my childhood and say, «Well, that’s because she suffered trauma as a small child; she witnessed violence, experienced terrible things. And that’s what made her who she is.» Or—perhaps others become very withdrawn after such crises because they tell themselves, «Oh, I’m afraid of the world. I just want to be quiet; I don’t want anyone to see me, because if they see me, they might attack me.»

My parents are proud Africans. They wanted to bring the education they had received in the U.S. back to their homeland.

 

Neither of those things applied to you. You quickly became quite outgoing.

Yes (laughs). Every time I had to change schools, I’d repeat my mantra: «I’m going to make friends. I’m going to tell the other kids how to pronounce my name. I’m going to tell them what I like. And I want to know what they like.» I always wanted to quickly gather people around me—people among whom I could move freely. That was partly due to my personality, since my parents were also always very open-minded and very friendly. But I think it was also necessary for me: I still remember very well how, when I was twelve years old, we moved to Colorado Springs. That place was so completely different from anything I’d known up to that point. I was a total outsider there; I looked strange and spoke differently. So I did everything I could to connect with those around me in a way that made me seem less foreign. And I’ve put that to good use throughout my entire career—the ability to win people over.

 

Do you think you made a conscious decision to act that way—even though you were so young?

Maybe my perspective on this differs a bit from that of the general public, but I’m convinced that we shouldn’t underestimate children’s ability to make decisions. I could have been a troublemaker, played the class clown, provoked the teachers… and based on my experience, that would probably have even met some people’s expectations. But even later in life, when I experienced trauma, I decided to move in a certain direction—to adapt, to cope; but in a positive way.

 

Since you mentioned trauma: In early 2023, you’ll publish your first book, which is titled *The Urgent Life*. A large part of the book will deal with your relationship with your husband Peter and his death. When he died of cancer, your daughter was in kindergarten—and you were at the peak of your career so far at Pepsi. How did that «affect» you?

I want to be honest with you: I sold a book to the publisher that I didn’t end up writing. Yes, the book I originally had in mind was supposed to focus on the last three months of my husband’s life. That was the time when we found out that his cancer was incurable. Back then, I started taking a photo every day with my cell phone. I still have the album; it’s called—and there’s a good dose of sarcasm here—«One Day at a Motherfucking Time.».

 

You'll have to explain the name to us.

I named the album that because almost every time I talked to someone about Peter’s illness, they’d say, «Oh, just take it one day at a time.» Can you imagine how much that annoyed me? I wanted to reply: «Do you have any idea what our days are like? Tomorrow is supposed to be better? No, tomorrow will be even worse; Peter will be sicker. He’ll be closer to death. »Day by day’ just doesn’t work for me!” Still… I started taking pictures. During my husband’s illness, I captured a moment every day that made me laugh or cry—a moment I wanted to remember. The book I’d initially pitched to my publisher was supposed to tell the story behind each of these photos.

 

But did that change during the trial?

When I started working on this, I realized that when telling a story, you sometimes have to go back in time to explain the context. And then I thought of all those other traumas and difficult situations—all the crap that’s happened to me. And I thought of the people who asked me, «How did you manage that? How did you survive? How is it possible that you’re doing so well today?» I don’t have a perfect answer to these questions. But I can tell what happened. And I can tell what’s happening right now. «The Urgent Life» is a kind of memoir centered on Peter and the time of his illness, but it’s also about so much more.

The book is called *The Urgent Life* because your husband's death gave you a whole new sense of urgency.

Exactly. And Peter taught me so much in that area. When he received his final diagnosis, I just wanted to crawl into a cave; I wanted to… disappear. I didn’t have the strength to do anything. It all came from him. Peter was the one who put a piece of paper on the table and wrote down the things he still wanted to do. It wasn’t a «bucket list» with bungee jumping and skydiving—that’s not what you want to do in a situation like that. You want to do the little things. You want to go out for ice cream, you want to see your best friend, you want to go camping with your daughter. And every time we checked an item off the list, Peter added another one, so the list remained practically endless … until it had to end. That’s when I realized that even though we have all these «carpe diem» mantras, that’s not how we live. None of us lives that way. I realized that during our late-night conversations—when the only sound in the room was the beeping of the machines—we didn’t want to talk about work. Or about retirement. Or about any other point in life that lay ahead.

When I experienced trauma, I decided to move in a certain direction—in a positive way.

 

Because for you, only the radical present mattered.

You know, Peter always wanted to open a wine shop. I wish he had done it; I really wish he had done it. He had an incredible wine collection. By the way, I still have that collection: the bottles have probably all gone bad because I moved them and stored them incorrectly—and that’s why my husband, wherever he is right now, is mad at me. (laughs). Either way: Peter’s illness has taught me that we can’t afford to wait. None of us can. Why wait six months or a year before doing something? How can you even know if you’ll still be here in six months? For me, that’s not fatalistic or morbid—I use it as inspiration. I use it as motivation to say: I want to do this, and I want to do it right now. I want to have a good time. I want to enjoy life.

Doing whatever you feel like doing—that’s what led you into marketing, right? You actually wanted to become a doctor. But as luck would have it, you landed a job at Spike Lee’s agency—he would later go on to become an Oscar-winning filmmaker…

The start of my career was a total coincidence. I didn't know anything about anything; I really was that—naive (laughs). I was just trying to enjoy my time in New York and take on a few jobs to put off starting medical school for a little while. The concept of marketing didn’t even cross my mind. My parents wanted financial security and a respectable job for me; they would never have said, «Okay, go find a job in marketing.» So there were no conversations or any preparation in that direction.

 

Even so, you gave up your plans to go to college and stayed at Spike DDB for more than four years. Why?

Working with Spike, I discovered talents in myself that I didn’t even know I had. I found that totally fascinating, totally exciting. When you have no idea that you can do something … and suddenly you’re really good at it … But as for those four years: I took a short break during that time. I handled all the administrative work for the agency, got the coffee, picked up Spike’s kids, and ran errands for him at the dry cleaner’s. I soaked up every single word he said; I went to all his NYU classes… but at first, he and the team still didn’t want to give me any major opportunities. So I wanted to prove that I could make it somewhere else, too. But I really failed at that. (laughs). I couldn't find another job, so I went back and stayed for two more years.

 

That was the kickstart—after that, you moved to the client side. You worked for Pepsi, Beats, Apple, Uber, Endeavor, and Netflix—and, as you say, you were constantly «breaking through glass ceilings.» People see your successes, but what price did you have to pay for them?

Oh, I’ve paid a high price. That’s something people rarely see. Women who pursue careers in male-dominated fields are sometimes … portrayed as a kind of «Joan of Arc.» You know, with imaginary armor and a shield—a heroine who can never be hurt. And that’s not the truth. The truth is much more chaotic. Much less pleasant. I’ve experienced great triumphs, yes. You just listed a number of fantastic companies I’ve had the privilege of working with. Many people call what I’ve experienced a «dream career.» But the truth is, it wasn’t easy in any of those jobs, in any of those companies. And challenges arose not just occasionally, but constantly. Every meeting, every email, every conversation in the hallway: I always had to make sure my voice was heard; that I wasn’t overlooked when opportunities arose; that I didn’t get caught up in the machinations of internal politics. And that can be truly traumatic.

 

This kind of honesty is rare, especially at the C-level.

There were moments when I felt ashamed of it because I thought: Shouldn’t I be stronger? Shouldn’t I be able to handle this? I’m talented, I have a great job—everything’s fine, isn’t it!? But I’m only human. I suffer, just like everyone else. I cry, just like everyone else. I’m afraid, just like everyone else. There were countless moments when I ran to the restroom at work just to cry. And before I came back out, I’d try to take a deep breath—then go back into the meeting and speak without my voice trembling. Golfer Johnny Miller once said, «It’s not what you achieve in life that matters, but what you’ve overcome.» And those are the things by which I want to be judged—because there have been quite a few.

 

She publicly emphasizes what being a mother means to her. She takes her 400,000 Instagram followers along on vacation with her daughter; she talks about the values she wants to instill in her—and how proud she is of her.

I remember well how a male colleague said in a meeting before the pandemic that he couldn’t understand how anyone could find the time to take their children to school. I sat there with my mouth agape—because since Peter’s death, I’ve been a single parent and travel a lot… but if I hadn’t taken the time to drop my daughter off at school or pick her up, go to her theater performances, or drive her to her friends’ houses, I would have regretted it for the rest of my life. Besides, I believe that personal life and work influence each other: I’m a better leader because I’m a mother—that’s for sure. I have more empathy; I understand more quickly how things work and what drives people’s emotions; I’m much more attentive. When I was at Pepsi, a colleague advised me not to put pictures of my daughter on my desk. That might raise doubts about where my priorities lie. I never followed that advice.

 

… because you have repeatedly said that you either come to work with everything «that belongs to you»—or not at all.

That's right. Either you get everything from me or nothing at all. That's it. No half-measures.

 

Your understanding of marketing is also very closely tied to your personality. You’re an expert in pop culture—and you draw connections between global brands and trends. How do you go about doing that?

I mentioned this briefly earlier: When I was a teenager and trying to connect with new people, pop culture was the easiest way to do it. I talked with friends about sports, music, movies, and gossip. Anything that’s somehow new sparks interest. And I’ve stuck with that to this day. I’ve lost count of how many colleagues have told me that I’d never become a successful marketing manager unless I learned to understand «data» better. Pop culture, well, they said, I could just set that aside for now. Of course, I feel a little vindicated now. (laughs), when those same people come up to me and say, «Yeah, pop culture!« I just sit there and think, »Oh, really? I’ve known that for 25 years.”

When my husband received his final diagnosis, I just wanted to crawl into a cave. I wanted to disappear.

But pop culture moves so fast. How do you stay «up to date»?

You have to be humble—and take risks. My humility comes from the fact that I realize I don't know everything. I have excellent taste (laughs), but I don't know about every new trend. So I have to find trends. That's part of my job: staying curious and constantly gathering information. I'm on social media all the time. I’m on Twitter, I’m on Instagram, I read articles online. I talk to people—young people, but also people who work in fields that aren’t even remotely related to my own industry. I’m in group chats where I can ask, «Is this cool? Have you heard of this?» And you have to be willing to take risks to catch the right moment to do something. Timing is everything in marketing. I compare it to a farmer’s work: You have to go out, dig in the soil—maybe you even have to taste a little of the soil! Is the soil good? Is this the right time to plant the seeds? Because that’s exactly what we do: We plant ideas in people’s minds—ideas about what they should see, know, or buy. And if we miss the perfect time to sow the seeds, there won’t be much to harvest. But if we do absolutely nothing, we might as well forget about it.

 

Is it because either the marketers show courage—or because no one else in the company does?

If marketers aren’t the ones who go out into the world to understand what’s happening in the culture—to make sure a brand is still relevant, that it makes sense to people…—who else would do it, and who could? Sometimes I come across ads that make me wonder, «Who’s responsible for this? This is just plain stupid!» (laughs) You can tell when the people behind a marketing campaign aren’t paying attention to what’s going on in the world. That’s what makes their marketing—deaf and blind. It’s a shame, because really, all you need to be successful in our field is an open-minded, curious person.

The start of my career was a total coincidence. I didn't know anything; I was naive.

 

You recently announced that you're stepping down from your role at Netflix—and we've already talked about your upcoming book. What else do you have planned?

Oh my goodness. It’s kind of funny—I feel like I should have an answer to that. I should say something profound, something inspiring. But the truth is, I don’t know. I really don’t. And that’s pretty scary. Whenever I’ve left previous jobs, I’ve always moved right into another role. This is the first time in my entire career that I’m taking a leap into the unknown. You mentioned *The Urgent Life*, for which I just submitted the first draft—by the way, you’re lucky I showed up for the interview, because I could have thrown up (laughs), This book makes me so nervous! So: I’m working on that, and I’m spending time with my daughter. What a wonderful moment in life—to have the space and time to do that! And otherwise? I sometimes struggle with myself: There are these voices in my head that doubt, that ask: «Who will you be without your title?» I try to silence them and grow as a person in the process. So if there’s an answer to your question, it’s that I’m trying to just be. That’s all. I’m trying to be myself.

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Bozoma Saint John was born in the U.S. to Ghanaian immigrants. She originally wanted to become a doctor—but then entered the advertising industry in New York City before switching to the client side, where she enjoyed a meteoric rise: CMO at Netflix and Endeavor, Chief Brand Officer at Uber, and Head of Global Consumer Marketing for Apple Music and iTunes are just a few of the highlights in her eventful career. «Boz» has been inducted into the Billboard Hall of Fame and the American Advertising Federation’s Hall of Achievement for her work; she was named the most influential CMO of 2021 by Forbes, honored as Executive of the Year by Billboard Magazine, and regularly features on lists such as «Disruptors, Innovators & Stars: 40 Under 40» by Fortune Magazine or «100 Most Creative People» by Fast Company. She is the mother of a daughter and lives in Malibu near Los Angeles.

 

This article first appeared in the print edition of m&k, No. 06-07/2022

Cross-media communication is on everyone’s lips these days—but what exactly does it mean? Adis Merdzanovic, lecturer in communication and branding at the Institute for Marketing Management at the Zurich University of Applied Sciences (ZHAW), explains: «Cross-media communication can be understood as consistent communication across various channels. Ideally, a campaign disseminates a central message through various channels tailored to the target audience. The content is coordinated across these channels but leverages the strengths of each individual channel. This ensures that the target audience actually engages with the content and that the content is aligned with the customer journey.» Implementing a true cross-media campaign is complex and typically resource-intensive, says Merdzanovic. It requires precise planning—both at the strategic and operational levels.

Every message must be tailored to the target audience

That is precisely why, in Switzerland, larger companies in particular rely on large-scale, sophisticated campaigns that, for example, coordinate mobile and social ads with newsletter and direct-mail campaigns. However, small and medium-sized companies also use cross-media strategies—albeit not to the same extent. «Today, it has actually become standard practice to develop a campaign not just for a single communication channel, but to run digital advertising campaigns with the same message alongside poster campaigns, for example,» explains Merdzanovic.

It is important to tailor every message to the target audience—in this respect, cross-media marketing does not fundamentally differ from traditional marketing. «Companies must have a clear understanding of their target audience and know which communication channels are best for reaching them,» Merdzanovic emphasizes. The campaign is then distributed through these channels, with the message tailored to each one. For example, customers would primarily expect interesting information from an email newsletter, whereas social media posts should also provide opportunities for interaction. «Instagram campaigns, for instance, often rely on user-generated content via specific hashtags, thereby actively involving the target audience in the campaign design,» says Merdzanovic.

Successful Collaboration

Goldbach is among the marketing agencies that recognized the relevance and impact of cross-media early on. To honor outstanding cross-media campaigns and promote this understanding of communication, Goldbach launched the Crossmedia Award in 2005. «We offer our clients 360-degree marketing as well as our own cross-channel advertising formats, thereby guaranteeing a secure and efficient market environment,» says Monika Heiniger, Senior Brand & Content Marketing Manager at the Goldbach Group. Effective cross-media communication is characterized by a clear central theme that is implemented in a manner appropriate to each medium across all channels used and intelligently connects the touchpoints. It is not the number of media used that is decisive, but rather their meaningful and effective integration.

It is important that the recipient can always trace the content back to the company and that the central pattern is recognizable.

As Heiniger explains, the winners of this year’s Goldbach Crossmedia Award demonstrate that cross-media campaigns really do work. «Above all, however, the jury was impressed by the innovative approaches and the outstanding cross-media engagement measures designed to reach end consumers and generate involvement,» Heiniger emphasizes. This was achieved, on the one hand, by tailoring the campaigns to the target audience and, on the other hand, by ensuring consistency across all communication measures, which led to the great success of the respective campaigns:

Gold: Runtime/Ochsner Sport (Thjnk Zurich)

An interactive cross-media campaign that playfully promotes Ochsner Sport’s expertise in the focus sport of «running»: with Runtime, the first podcast that only plays when you’re running. This cross-media integration propelled Runtime to the No. 1 spot among fitness and health apps in just 24 hours.

«The winning campaign for the 2022 Goldbach Crossmedia Award stood out for its innovation and originality. »The podcast that only plays when you run’ generated a high level of engagement between the target audience and the brand through an exciting gamification approach, which in turn led to significant sales growth for the client,” Heiniger explained, outlining the jury’s decision.

Silver: Chleiderchäschtli/Zalando (Jung von Matt Limmat)

Zalando’s cross-media anniversary campaign revolves around the «Chleiderchäschtli»—a neologism created as a tribute to the styles found in Swiss women’s and men’s wardrobes. With the song of the same name by Nemo & KT Gorique, the fashion giant was successfully transformed into a beloved national brand.

«For this campaign, the new word «Chleiderchäschtli» was coined and consistently integrated into all cross-media communications across all touchpoints. “The custom-created word, tailored to the company, and the song composed specifically for it fostered an emotional connection with the Zalando brand,” explains Heiniger.

Bronze: Share your Fire/Allianz Suisse (Sir Mary)

A cross-media campaign that allows Swiss sports fans to feel close to their idols despite social distancing. At its heart is an upcycled sportswear collection, handcrafted from the original, worn jerseys of Swiss star athletes. Integrated into a coordinated 360-degree strategy. «The «Share your Fire» campaign allowed Swiss sports fans to feel close to their athletic role models from all disciplines, despite social distancing and empty stadiums. “By owning an exclusive sports shirt from the handcrafted collection, the winners became proud brand ambassadors for Allianz,” Heiniger summarizes.

Conclusion

Heiniger’s conclusion: «If you cleverly link the various elements of a campaign, the synergy they create is greater than the sum of the individual communication activities.» This is what sets a good campaign apart—today and tomorrow.

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REQUESTED

«Content must be informative, entertaining, or advisory»

Dr. Adis Merdzanovic, lecturer in communication and branding at ZHAW, on the effective use of cross-media.

m&k: Please explain the opportunities and risks of cross-media communication.

Adis Merdzanovic: Cross-media communication is a reality of our time. Digitalization makes it possible to stay connected at all times through a wide variety of channels. The major opportunity is that, thanks to this broader reach, the target audience actually notices the message. On the other hand, customers today are constantly bombarded with advertising, which reduces their attention span. Ad blockers are also widely used, particularly in the digital sphere. To use cross-media effectively, campaign content must be informative, entertaining, or advisory, and offer customers added value.

 

What should be kept in mind with regard to messages, content, and synergies?

As a general rule, cross-media campaigns should convey a central message through various forms of content that adapt to the individual channels like a chameleon. It is important that the audience can always trace the content back to the company and that the central theme is recognizable.

 

How will cross-media marketing evolve in the future?

Cross-media marketing will become more prevalent. With the advent of marketing automation, it has become easier to plan and coordinate campaigns across various platforms. Today, digital marketing initiatives can be planned and implemented without any IT expertise. As the relevant software continues to evolve, it is likely to become more cost-effective to carry out such campaigns. This will lead to increased competition for attention, and content will need to be tailored even more closely to specific target audiences in order to be successful. This will require specialized expertise, and marketing departments will have to decide whether to outsource these skills or develop them in-house.

Presenter Stefan Flury led the evening and welcomed the winners on stage as well as the official representatives of premium partner Swiss Post, organizer SDV and the jury.Once again, everyone who makes successful dialog marketing possible was there this year: Clients, sponsors, agencies and implementation partners. In a place of art - the MAAG light hall is now used as an exhibition hall - everyone was immersed in the constantly reinventing art of dialog marketing.

Art also provided the perfect setting: From the vernissage of the shortlist exhibition to the dinner as a cozy garden party in Claude Monet's garden to the cheerful finale in the foyer and bar.

SDV Talents: Young talent on board

For the first time, the organizer SDV invited the best of the graduating classes for marketing specialists with a federal certificate to the Award Night. The young talents attended in large numbers, got a taste of the industry and already practiced networking.

Excellent work!

The 2022 vintage is characterized by particularly outstanding and enormously successful work: A look at the list of winners shows how many award winners were convincing with their strong submissions - for example, Bühler&Bühler, Farner Consulting, Focus Dialog, Publicis, and Wirz. This year, Wunderman Thompson came out on top with nine precious metals. The diversity of the work with which the agency and its clients were able to triumph is also remarkable.

In a league of their own: the industry awards

An industry prize is awarded to clients and agencies that implement outstanding campaigns in their field and thus become a reference for an entire industry. This year, only four works completely convinced the jury and were rewarded with an industry prize: UBS for financial services (Farner Consulting agency), Bühler&Bühler with their agency's own advertising, the aid organization HEKS Switzerland with their Corona donation campaign (NPO category, Wunderman Thompson agency), and Geberit International with the Handbutts campaign (Trade/E-Commerce category, Wunderman Thomspon agency).

These are the winning works 2022

PICTURES HERE

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Customer Management Study 2022: Participate now!

The Institute of Marketing Management at the Zurich University of Applied Sciences (ZHAW) is once again conducting a trend research project on the topic of customer relationship management in cooperation with the three German-speaking dialog marketing associations (SDV, DDV & DMVÖ). The study covers current topics such as the influence of Corona, the current state of Customer Data Platforms (CDPs) and human-to-machine-to-human (M2M2M) relationships.

The evaluation is anonymous. Participating will be provided with the key results of the study. Participation is possible until July 10, 2022 at the latest.

The story of the ViznerBorel agency ends where it began; with the two men who gave it its name and face for eighteen years. We meet Lajos Vizner and Guillaume Borel in mid-June in a building on Zurich's Klosbachstrasse, near the Römerhof streetcar station. For the two, the appointment is a bittersweet trip down memory lane, as a few days later they will file their company's financial statements with the authorities - and lock the doors of their current office, just a few steps away, for the last time. ViznerBorel have decided to shut down their business. Committed rescue attempts notwithstanding, the pandemic and inflation claim one of their most prominent victims yet within the Swiss communications industry.

Why not dare to do something new?

Despite this, or perhaps because of it, Lajos Vizner and Guillaume Borel want to speak openly. And they don't want to be deprived of smiling for the photos, although they hardly feel like it these days. They are standing together in the "Schlauch," an intermediate space that was actually designed as a connecting corridor (and has since been used in this way again). They moved into their first improvised office there in 2004. As they recall, the two had neither a master plan nor any capital of their own, but plenty of momentum: At the time, owner-managed advertising firms were in vogue among clients, and the joint employer of strategist Vizner and creative Borel - the Bonaparte agency - had just gone bankrupt. So why not try your hand at being an owner, try something new, together?

"Le feu sacré"

The claim for their project was quickly found, characterized by a pathos that was probably not typical of Switzerland, but charming: "Le feu sacré," the "sacred fire" that should burn for the clients and also in the advertisers themselves. They didn't want to do it any lower than that; completely or not at all. The metaphor became core to their philosophy: "Only communication that sparks ignites a fire." Fittingly, Vizner and Borel gave away altar candles, made for them by the Einsiedeln Monastery's supplier, to their rapidly growing customer base. "We became a hotshop," they recall. And where a good reputation precedes, the big budgets often follow swiftly behind. Porsche, Denner, UPC, Navyboot or Heineken; VW, Ikea, Weleda or Migrolino entrusted their brands to the - in terms of size, style and style - dissimilar duo. Admittedly, they could soon no longer remain a duo; there was simply too much to do. The organization grew to 24 employees, went from a boutique to a veritable SME, and the "hose" was suddenly much too narrow - not only for what they did, but also for what they intended to do.

There are photos from that time showing Vizner and Borel with their management at the time - both wearing dark tailored suits and ties. Is it fair to say that they are not only younger in these pictures, but also look younger? Less exhausted, less tired? "We've had quite a few sleepless nights - one may," winks Creative Guillaume, but that's probably only part of the explanation. Because what has drained so many entrepreneurs, in the endlessly stretching months and years since a tiny virus turned an entire world upside down from its feet - it's not just physical fatigue. "It's," says Strategy Lajos, "this uncertainty, this maneuvering between lockdowns and tentative openings, and in the end, no one knows what's going to happen next." The aforementioned portfolio, long a boon for the agency, proved to be a portent; after all, the majority of ViznerBorel's clients were in turn dependent on the consumer climate that prevailed among end users. And this climate has seldom been worse than in times when people are not allowed to leave the house, when they are afraid for their own health, their job, and even their existence. Who needs new cars, who buys a kitchen?

The 'sacred fire' that should burn for the clients and also in the advertisers themselves.

Nevertheless, the federal government's hardship regulation was not applied - the position of communications service providers in the chain of economic value creation seems too complex, and the fact that the pandemic alone is to blame for the agency's plight is too difficult to verify. After all, there was no official directive to suspend work, as in the case of restaurants and non-essential businesses. One would have been allowed to advertise, had only someone inquired, but the clientele went into guardedness. The federal government could perhaps do something in such cases, but did not want to. Or wanted to - and could not. Who knows? And when economic historians one day pass judgment on the things that happened and that might never have happened in other scenarios - then so much water will have flowed down the Limmat that unfortunately, somehow, it won't matter. Twice, Vizner and Borel nevertheless resisted a negative vote by the authorities, and twice the only result was a high bill for the administrative effort of those who ultimately issued a negative decision.

And then came the inevitable steps: Accessing the agency's reserves, originally intended as a payout for the founders to cover employees' salaries ("How could we have taken money from the company but laid people off at the same time?" asks Guillaume Borel, indignant that such a thing actually seems to be common practice elsewhere); countless talks with potential cooperation partners, investors. Of course, participation in the few pitches that were even offered up and down the country in the pandemic. "Again and again we had hope, and that's what keeps you going," says Lajos Vizner. But it can also be deceptive, sometimes downright cruel: When it briefly seemed as if everything was going to be okay after all, the next Covid variant came along, the next lockdown. The next lost mandate. And in the end, with the heaviest of hearts: cuts in personnel. These were particularly hard for ViznerBorel because the agency always had a low staff turnover. Layoffs are always unpleasant, I suppose, but laying off people you've known for twelve, fifteen, eighteen years, whose children you've watched grow up, who you've seen build their homes or marry their childhood sweethearts, that's something else entirely. "That's the part of entrepreneurship that hardly anyone talks about," the agency founders believe, not even because of any artificial taboos - but simply because it's so sad.

The captains go last

One last, big pitch was due, a few months ago, they don't like to call the customer by name, the duty of confidentiality is even contractually stipulated. And indeed: this pitch was won by ViznerBorel. The budget involved would have given the team breathing space, a new chance. But then timing threw a wrench in their plans. "An absolutely terrific client - a fantastic job. But also just wages, rent, expenses we would have had to cover ourselves until the first resources were transferred in the fall." The temptation to go into private debt to somehow make it work was strong. But then reason triumphed over the heart, ratio over "le feu sacré." They did one more empathetic volte face and happily agreed with the "almost client" when he made their employees a permanent job offer: they would soon be able to do "in-house" what the agency had actually wanted to do. Vizner and Borel themselves, of course, will not "go along with it," for a variety of reasons. Two like them need diversity, even if it brings a degree of uncertainty. "We would have been more worried if our daughter had not been accommodated," they say, and it speaks for the two of them that you really believe them.

The two captains leave the ship last. They leave for a future peppered with question marks, without a net, without a double bottom. Entrepreneurs are not insured with the ALV - nor are they insurable. Or, to put it in official language: "The entrepreneurial risk remains with the self-employed person." Lajos and Guillaume will now try it as consultants, you can book them individually or together. They will no longer be allowed to use the name ViznerBorel once they have filed their balance sheets, but their new business cards will fit together like two pieces of a puzzle in which the agency is resurrected, at least visually.

The federal hardship provision did not apply. After all, there was no official directive to suspend work.

And if there is something good about the whole story, which is not a particularly happy one in itself? The strategist and the creative think that uncertainty can also mean freedom. Because back in 2004, clients would have appreciated that owner-managed agencies often proclaimed unadjusted and unconventional ideas. "Today, clients, advertisers and consumers are bored with each other," Guillaume Borel says with a grin, "and in this mainstream, in this river of indifference, we are now allowed to swim against the tide again."

Can you want to start over?

Following such a statement, there is of course another question that may seem somewhat impertinent, but the open discourse about fatigue and exhaustion has made the editor courageous: whether it is more difficult to start anew later in life than, say, in one's mid-thirties? Whether one can still have the desire to give everything again, to start anew, to fight? "I don't want to and won't just stop now," says Lajos Vizner, "not after more than three decades in the business." And adds with a laugh, "Besides, I still have way too much energy and joy in what I do." Guillaume Borel, on the other hand, is thinking about the changing society, has already become increasingly involved with non-profit organizations in recent years. "Maybe now is the time to give back even more with what we can do," he says. Age is merely a biological matter anyway, a physicality, but the spirit remains restless, youthful, creative - in him as in his partner. And then you realize, for a moment, between all the things that still have to be unwound; between the vagueness that comes and the memory that remains: The fire, the passion, "le feu sacré" are not extinguished. They may spill over to other places, times and constellations; but they will continue to blaze, to blaze.

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Lajos Vizner and Guillaume Borel say goodbye to the industry with a "Best Of Film" of their work. At the same time, they are available immediately as experienced consultants, either individually or together, for strategic and creative work: They can be reached at [email protected] and [email protected].

M&K Why did you start a new club? Aren't there already enough clubs and associations?
ROLAND EHRLER Every association is founded for a specific purpose. With Digital Ad Trust, we are creating a shared platform to promote greater transparency and security in the Swiss digital market.
In the end, establishing the organization was the logical step to give our joint activities their own name and legal status. Furthermore, the three associations are demonstrating that they are very serious about their commitment!

Are there similar certifications for publishers in other countries as well?
Yes, in Belgium or France. On the SWA’s part, the global «Global Media Charter» initiative inspired us to become more active in this area. Our global association, the WFA (World Federation of Advertisers), drafted eight requirements as early as 2018 to protect advertisers and consumers. The new certifications meet some of these requirements.

How do you encourage publishers and platforms to get certified?
With Ringier and Goldbach Audience, we already had two publishers representing IAB Switzerland on the project team for this initiative. In addition, we had been in dialogue with other publishers for some time. Ultimately, the certification should meet the needs of clients, agencies, and commercial website operators. It is our stated goal that more publishers and commercial platforms will seek certification in the coming months. It should be in the interest of all providers to use the certificates now available to guarantee that advertisers’ budgets are well spent.

One more thing about pricing. How was it determined, and are there differences between larger and smaller websites?
First and foremost: Digital Ad Trust Switzerland has no profit goals, and all board members serve on a volunteer basis. For pricing, we primarily calculated the costs associated with certification and distinguished between large publishers/networks and smaller providers. We set the threshold between “small” and “large” at one million visits per month. Furthermore, the new association does not need to maintain an office but works exclusively with Daniel Hünebeck as project manager. He has extensive experience in the digital market and has been on board since the launch of our transparency initiative.

More information:

digitaladtrust.ch

Adtrac is a young startup, but it has big plans: The team led by CEO and co-founder Benjamin Wey used the lockdown to launch an entirely new platform for booking DOOH advertising. Why has Switzerland been waiting for this service? And what do Wey and his team have planned next?

M&K Adtrac aims to revolutionize the booking and delivery of DOOH advertising with a new platform. How did you come up with the idea?
BENJAMIN WEY DOOH It’s a cool digital medium, but the booking processes are still largely manual, error-prone, and linear. When Advertima then approached me with the challenge of smart targeting—that is, serving ads only when the target audience is in front of the screen—it was immediately clear to me: This is only possible with an automated marketplace. Exclusivity for publishers or excluding other providers isn’t an option for us. Anyone can flexibly offer a portion of their inventory through us, provided they still have available space. We see ourselves as a marketplace and aim to efficiently bring together supply, demand, and data.

What sets your technology apart?
Adtrac uses intelligent algorithms to combine supply, demand, and all available data, and transmits this complex logic to the ad serving systems in the form of simple orders. We are particularly proud of our user interface, which allows users to achieve successful planning with just a few simple decisions. The tool automatically handles the complex analytical and detailed planning work in the background using our AI forecasting model.

Is your offering aimed primarily at media planners—or also directly at companies?
If we build something that media planners don’t find useful, our chances are slim. The needs of media planners—whether at agencies or directly in a company’s marketing department—are largely the same: they want to keep clients as satisfied as possible with as little effort as possible and minimal risk of making mistakes. Adtrac makes it easy.

What other plans do you hope to carry out in 2021?
We’ve already demonstrated that it works and that it benefits customers. With TopPharm, we’ve been able to launch the first private marketplace. This year, we want to attract new inventory providers to make the marketplace even more appealing to agencies and customers. My big dream is for us to create an online store for SMEs and small business customers that
they can book campaigns in their catchment area quickly and easily. It should be so simple that a small business owner can book a few screens in their catchment area just before closing time. Adtrac for everyone!

About the Company

Adtrac is a Swiss technology platform specializing in the marketing of digital out-of-home advertising spaces. With the web-based Adtrac Campaign Tool, advertisers can plan, track in real time, optimize, and evaluate their campaigns themselves at any time.

It was compiled based on an annual survey of nearly 4,800 European marketing and sales executives, in collaboration with the members of the European Marketing Confederation (EMC).

… and then came COVID-19

Digital transformation presents marketing organizations and decision-makers with challenges whose impact is rarely limited to individual business units but typically affects the entire corporate strategy, corporate culture, organizational structure, and operational processes. Thus, on the one hand, it is not surprising that digital projects—which were originally conceived as standalone initiatives—quickly lead to the realization that cross-functional changes are necessary and sometimes even require operational restructuring.

In the midst of the digital transformation, we find ourselves caught between the dogma that «digital is the new normal» and a legion of startups just waiting to cannibalize traditional business models. And then COVID-19 took over… It’s not without a certain irony that the COVID-19 pandemic, which has had the world in its grip since early 2020, is driving the digital transformation of the economy in general and of marketing in particular. Whether due to the pandemic or not, companies are not only realigning their existing digital projects and activities but are also launching new initiatives to drive digitalization forward and revitalize corporate structures. The COVID-19 pandemic forced us to cancel the 2020 editions of our established Marketing Days in European countries. This showed us just how important these annual highlights on the industry calendar are for companies and their employees.

The survey meets eight criteria

1. The presentation and discussion of current, forward-looking concepts;
2. The emphasis on tangible, real-world experiences (rather than theoretical strategies);
3. Providing platforms for interaction, discussion, high-quality knowledge transfer, and networking (instead of PowerPoint presentations);
4. Providing reports on real-world experiences and lessons learned by those responsible for decision-making and implementation
5. Emphasis on conceptual contributions from companies that have gained in-depth experience with the strategies and processes presented (i.e., not a program full of superficial sales pitches);
6. The presentation of narrative threads ranging from strategy to implementation;
7. Contributions from companies of all sizes and from all industry sectors
8. Emphasis on cross-functional collaboration at the interfaces with offline activities, IT/digital business, product development and management, pricing, innovation management, channel management, organizational structure, and leadership.

 

The study can be ordered from Swiss Marketing: [email protected]

However, the extent of the impact varies depending on the language region and broadcaster. This, in turn, affects the quality of the forecast. The range here extends from «unacceptable» to «so-so» to «very encouraging.».

Will this trend continue?

The COVID-19 pandemic has changed a lot since last March and turned many things upside down, including the TV market. One consequence of the first lockdown a year ago was a rise in TV viewership—after it had been steadily declining in recent years. In the first few weeks, this was primarily due to high viewership of news programs, but afterward, more entertainment-oriented formats also benefited from the increased viewing. The big question was: Would this trend toward higher viewership continue in the second half of 2020, allowing TV networks to continue benefiting from higher viewership? The TV stations were apparently mostly optimistic when drawing up their advertising block forecasts for the second half of the year. However, as already noted in issue 11-12/2020, the stations’ assumptions were only partially fulfilled in the third quarter. In the fourth quarter, the trend was similar for the broadcasters under review. Detailed information on this can be requested from the SWA ([email protected]).

People in Western Switzerland watched for longer

The SRG stations marketed by Admeira, as well as the private stations of the TF1 Group, performed very well. Only SRFzwei fell significantly short of the forecast in October and November.
In French-speaking Switzerland, however, with the exception of C8, the channels marketed by Goldbach also performed relatively well to very well. Although M6 still showed some weaknesses in October, it was then able to significantly improve its forecast performance by December. The picture in German-speaking Switzerland, however, was quite different: With the exception of DMAX, none of the channels marketed by Goldbach that were analyzed achieved their planned performance targets in the fourth quarter. In some cases, they fell far short of them. Kabel1 stands out positively. The channel was able to improve its forecast accuracy month by month and reached its target in December with an index of 101 (i.e., the forecast and actual performance figures matched). The varying forecast accuracy also had an impact on advertisers’ TV campaigns. While the planned performance targets in French-speaking Switzerland were generally met at the desired time, advertisers in German-speaking Switzerland sometimes had to accept significant performance shortfalls. Looking at the trends in TV usage and viewing time, it quickly becomes clear why the stations in French-speaking Switzerland performed better: While viewing time in German-speaking Switzerland fluctuated around the previous year’s level between October and December, in French-speaking Switzerland it was between 7% and 16% higher than the previous year.

«Depending on the assessment of the forecast's quality, a correction factor is incorporated as early as the preliminary planning stage.»

The start of 2021 was no less sluggish for the channels marketed by Goldbach in German-speaking Switzerland. In January, only RTLzwei and Sat.1 met or slightly exceeded their forecast figures, and in February, RTLzwei and Kabel1 did the same. RTL, Pro7, as well as 3plus and TV24, on the other hand, fell significantly short of the forecast figures. The downward deviations from the forecasts for these channels amounted to as much as 38%. The forecast accuracy of the German-speaking Swiss SRG channels, as well as that of most French-speaking Swiss channels, was very encouraging in the first few months. Only C8 has so far fallen short of the forecast by about 15%.
The SWA is committed to ensuring high-quality forecasts and fair pricing trends, and is in discussions with all media agencies and the AGFS to this end. For more information on the SWA’s work, visit www.swa-asa.ch.