m&k Maison Francis Kurkdjian has become one of the world's most renowned perfume brands. When you and Francis Kurkdjian founded the brand in 2009, what ideas and goals did you have in mind?

Marc Chaya: When I met Francis about eighteen years ago at a dinner party, I asked him, «What do you do for a living?» He replied, «I’m a perfumer.» At the time, I had no idea what a perfumer was—and when I learned that he had created Jean Paul Gaultier’s «Le Mâle,» followed by more than 40 well-known fragrances for various fashion and couture houses such as Dior, Saint Laurent, Armani, Narciso Rodriguez, and Elie Saab—I asked him, «How come I’d never heard of you? You’ve created all these perfumes that everyone wears, but I’ve never heard of you!» What struck me most was that such an extraordinary creative talent had simply been «hidden away» and was only allowed to work under the guidance of—and to meet the needs of—marketing teams. I quickly realized that there is room in the market for a brilliant perfumer who can freely express his ideas and put creativity at the center—as is the case in couture, for example, where designers are the origin and heart of everything.

As a child, I was very creative and sensitive; I had a passion for drawing, architecture, fashion, art, and music. However, the people around me—and especially my father—encouraged me to focus on business. So I clearly missed creativity in my professional life and sought a field where I could apply the business skills I’d acquired while also expressing my innate creative nature. After forming a close friendship with Francis, I left my position at Ernst & Young in 2009. We both felt it was time to try something new. Since then, we’ve been on an extraordinary journey (laughs)! With passion, determination, and joy, we’ve built what is now widely recognized as a leading global player in the market for high-quality and selective fragrances.

«The vision was to give one of the best perfumers of our time the opportunity to give free rein to his ideas.»

What factors did you primarily consider in order to differentiate your brand from the competition?

I’ve already mentioned this briefly: Our «Maison» began with a vision that was disruptive in many ways—to free perfumer Francis Kurkdjian from the typical dynamics of the market and give him the freedom to do whatever he wants. That is our first distinguishing feature and a major difference from many competitors who still follow old structures. We also take a very selective approach to distribution: we’d rather focus on a few high-quality distribution partnerships than on many of lower quality. We offer expertise and an excellent product. Our narratives spring directly from the perfumer’s spirit, and our marketing always serves his creative vision. We believe this is what makes the stories we tell meaningful, authentic, and inspiring.

You mentioned your products. If we stick to perfumes for now: What sets them apart?

The fragrance collection that Francis has created over the years is extraordinary. His creative signature is highly appreciated by our customers. Take, for example, the iconic «Baccarat Rouge 540» or the fragrance «l’eau À la Rose,» which has made the scent of roses—often stereotyped as something only for older women—feel younger and more contemporary. Furthermore, with «l’Homme À la Rose,» we’ve invited men to venture into new olfactory territory. And with «Gentle Fluidity Silver» and «Gentle Fluidity Gold,» we’re leaving gender labels entirely behind—as the names suggest.

You frequently collaborate with other premium brands—such as Fendi. How do these collaborations come about?

For us, these collaborations are never just about «promoting» products or making market entry easier. We are a creative house, and as in any creative field, there are sometimes wonderful encounters that lead to inspiring, surprising results. That was the case with Fendi, where—just like us—they place great value on craftsmanship; we used a special technique to create a fragrance for the iconic «Baguette» bag. And that was also the case with our partnership with Baccarat: collaboration between crystal manufacturers and perfumers has a long tradition, and when Baccarat contacted us to create a bespoke fragrance for their 250th anniversary, we practically had to say yes (laughs). Francis was very interested in exploring how the alchemy of crystal-making could be interpreted in a fragrance. That’s how the fragrance «Rouge 540»—which I mentioned earlier—was born. It was supposed to be a limited edition of just 250 crystal bottles, but the fragrance was incredibly well-received. That’s why we decided to take the collaboration to a new level and launch «Rouge 540» as part of our collection in 2016. Authenticity is essential to the success of a collaboration; otherwise, the whole thing won’t hold up.

A handbag and a perfume: How do you bring together two things that are so different?

The creation of a fragrance begins with a story, an inspiration. When collaborating with a fashion brand, you approach the project from a creative perspective and look for the story and angle that best suit the collaboration and make it meaningful and inspiring. Storytelling and emotions are of fundamental importance to us. That’s how Francis works; he tells stories through his creations, and in this case, the story is about revealing a specific aspect of the fashion house—because a fragrance can’t say everything.

«Authenticity is essential to the success of a collaboration; otherwise, the whole thing won't work.»

Do you feel that the pandemic has intensified people’s longing for beauty, for luxury products, and for little escapes from everyday life—or has it made your business more difficult?

We were not overly affected by the general slowdown in the consumer economy because our customers continue to want to experience our fragrance collection and purchase their favorite scents from the «Maison» collection. After a weaker first half of 2020, we have experienced dynamic growth since the second half of 2020, with the share of digital sales rising significantly. This trend is continuing in 2021, and I expect it to persist well beyond 2022.

So has the pandemic also reinforced the trend toward e-commerce in the premium segment?

The pandemic has definitely amplified certain pre-existing trends, particularly online shopping and the digitization of customer relationships, to which we have responded by strengthening our digital presence. At the same time, many stores have reopened since the beginning of the year, and we’re pleased to have reestablished a foothold at most of our physical locations—particularly in the U.S., which is our largest market. We’re moving toward an omnichannel model, where we aim to deliver an exceptional customer experience at every touchpoint. But, to come back to your previous question: In recent months, we’ve noticed that our customers continue to wear their perfume—even more than before. I believe that perfume is now an integral part of our lives—almost a necessity for feeling good and taking care of ourselves. The need for self-care and positive feelings has, of course, been further amplified by the pandemic, and perfume is an accessory that enhances our emotions and complements our personality, while at the same time being invisible and personal. A pleasant sensory experience that helps us feel more confident and sensual—and, in a way, brings us closer to ourselves. In a year of restrictions, sacrifices, and depressing news, perfume has been a way to create a positive balance and enhance our lives at home—whether by wearing our favorite scents or using home fragrances to create a pleasant atmosphere.

«In a year of hardship, perfume was a way to create a sense of balance.»

Do you feel that perfume creation is generally recognized as an art form and receives the respect it deserves?

It’s starting to happen, and we’ve worked hard to achieve this goal. Perfume-making is a perfect combination of creative genius and technology—though technology is primarily a vehicle for bringing ideas to life, with the method itself taking a back seat. You know, for many years, perfumers were relegated «behind the scenes.» That’s changing now, and the recent appointment of my co-founder Francis as Creative Director of Parfums Christian Dior—while he simultaneously retains his leading creative role at Maison Francis Kurkdjian—pays tribute to this fact. Perfumers are now recognized as creative authorities, and like fashion designers, they can lend their talent to multiple houses at the same time. The history of fashion is full of such examples: Karl Lagerfeld worked for both Chanel and Fendi for decades, and Kim Jones worked for both Dior Men and Fendi at the same time …

In closing, allow me to ask: When—in business or in life—should one choose a subtle fragrance, and when should one opt for a bold one?

The same fragrance can smell completely different depending on the person, so there’s no single answer to this question. For example, I like to wear «Amyris,» «Gentle Fluidity Silver,» or «Grand Soir» as my everyday fragrances, while I save «OUD Satin Mood» or «Baccarat Rouge 540 Extrait de Parfum» for special occasions. However, others in my circle wear «OUD satin mood» and «Baccarat Rouge 540» as everyday fragrances! Perfume is an invisible accessory that boosts our confidence and brings us joy. The most important thing is to be true to yourself!

Marc Chaya is the CEO and co-founder of the perfume house Maison Francis Kurkdjian. Before founding his company, he worked for nearly two decades at the consulting firm Ernst & Young, most recently as Global Head of Telecom Markets. Born and raised in Lebanon, he now lives in Paris.

«Above all, clients want simpler—and therefore faster—solutions.»

Matthias Künzler can confirm Martin Scholl’s findings. The media professor, who now teaches at the Free University of Berlin, was previously the head of research at the Institute for Multimedia Production at the University of Applied Sciences in Chur. In that capacity, he led a study that took a scientific look at corporate newsrooms as production centers within companies. According to the study, such media production workplaces can be better tailored to a company’s needs and are set up as multimedia desks. As researcher Künzler notes, these centers employ new professions that do not originate from the graphic design industry—such as producers, directors, video journalists, and social media managers. What they have in common is that they are proficient in new technologies, think commercially, and are customer-focused. These are the key findings from the study on the corporate newsroom.

René Theiler, one of the leading experts in the graphic arts industry, largely agrees with these statements. In his opinion, when it comes to purely promotional printed materials, clients today tend to get more involved in the production process by creating the print files themselves or uploading them directly to specialized web portals, which are now seen as useful and well-designed tools. In contrast, when it comes to periodicals (magazines published regularly) or annual reports, they continue to leave the entire process to specialists in the printing industry.

«The bold members of the Black Guild are even venturing into the agency business, much to the dismay of the advertisers.»

The Wirz agency also set up its own production center several years ago. Daniel Ehrensperger notes that, in his opinion, not much has changed in terms of preparing print materials, but the individual steps in the process are becoming more integrated—this is undeniable. Hans Preuss of Zurich-based nsgroup, another pioneer in media production, elaborates: In general, traditional print order processes have changed significantly, and the pandemic has further accelerated and accentuated this trend. What remains unchanged, according to Hans Preuss, is that the output is still a physical product. However, the production process is becoming increasingly digitized, leading to new interfaces and efficiency gains. As examples, the business development expert cites documents shared in the cloud, online ordering processes, web shops, and video communication instead of in-person meetings. Companies that are modern and customer-focused can easily handle any type of print artwork.

This raises the question of how this looks from the client’s perspective: Does the client have any specific requests for the printer? For Daniel Ehrensperger, this isn’t an issue—at his company (the Wirz Group), the end clients typically choose the printer. This is also the case for nsgroup, though they address this point in more specific terms. According to Hans Preuss, they increasingly view the client as a communications manager who focuses primarily on the channels they want to use simultaneously and thus pays more attention to the content and the output than to the production process itself. That’s why, according to him, clients tend to look for a partner who understands the processes and, above all, can manage them. The client sets the requirements in terms of time and budget (schedule and budget), and the execution must be flawless.

René Theiler expands on this idea; according to his observations, clients are primarily looking for simpler—and therefore faster—solutions; therefore, printing companies that support the digitization of production with effective strategies have an advantage.

Where the focus lies

Not only has the printing industry lost existing orders, but the remaining ones have become smaller, and certain tasks—especially in prepress—are now handled by the clients themselves or by third parties. How can a traditional printing company make up for this shortfall? Hans Preuss has a simple answer: If the printing process remains the focus of a graphic arts company, that business will face difficulties; if, on the other hand, it focuses on the customer experience, new services will open up for the graphic arts company, particularly in consulting. However, this requires that employees receive appropriate training in marketing and communication and develop the ability to adapt—on a case-by-case basis—to translate the client’s goals into their own services, as Preuss puts it. According to nsgroup, more concrete and obvious examples of additional services would include proofreading, shipping logistics, or warehousing—that is, services that print providers have offered in the past. Other in-demand services could include data handling—especially when dealing with large volumes of data—or tools to help present potential print projects, such as blind and paper samples or even proofs.

The bolder members of the print industry are even venturing into the agency business—much to the chagrin of advertisers—though in many cases they have already brought a (large) portion of print production in-house. René Theiler brings another aspect into play: Those who can offer cross-media services—and by that he means, first and foremost, the integration of print and web—hold the upper hand. Added to this today are other cross-media applications such as augmented reality and printed electronics—or, more immediately relevant, multichannel concepts in which multiple channels are utilized for the same campaign.

The online channel is also playing an increasingly important role in the printing industry, as illustrated by the example of the Jordi printing company in Belp, which has established the online print shop «Printzessin» alongside its existing graphic arts business. Managing Director Gabriel Jordi wouldn’t want to be without this second source of revenue. On the one hand, Printzessin fills the revenue gaps in the traditional business, and on the other, it brings in new customers who would rarely turn to a «traditional» graphic design firm. But the online business doesn’t work properly without good service, says the reoriented print specialist. Even if the online portal is easy to use, questions keep popping up that need answers. If they receive good information, these customers are also willing to pay extra for it. Typically, it’s the simpler jobs in smaller print runs (from about 20 to around 400 copies) that come in through the online channel, but in many cases, these are customers who also place larger orders in higher print runs from time to time. And when these customers are well served—receiving not only the right information but also high-quality printed materials—they’re also willing to turn to Jordi Printing for larger print jobs. This traditional company benefits from the fact that optimal customer focus has always been a priority. Production takes place on the same machines with the same staff.

«The Swiss Print Award Needs More Glamour»

In an interview with Anna Kohler, Marco Bieri, Chairman of the Swiss Print Awards, discusses how the Swiss Print Awards are reinventing themselves and what it takes to do so.

Where are we going?

The journey has only just begun. We are on a long-haul flight. We will land in about 2 to 3 years. The leadership team has big plans to expand the Award Night and to revitalize participation in the Swiss Print Award. The six-member, independent, and autonomous jury, led by Christian Theiler, is working on new evaluation and judging criteria as well as the creation of new categories.

What does it take for the award to get the glamour it deserves?

Greater visibility and attention. But to achieve that, we need more partners and sponsors. Marketing costs money, after all! Expanding the Award Night also means more work and higher costs.

Who would you like to encourage to apply for one of the four categories?

Everyone involved in or connected to a print project. That means the end customer, the agency, graphic artists, designers, the print shop, and post-press service providers. We still have a lot of ground to make up when it comes to end customers, agencies, graphic artists, and designers! The Swiss Print Award is still not well known enough among them.

In just a few sentences, weave together a tribute to print, tactile quality, and ink.

Print can be loud. Print can be quiet. Print can convey every nuance in between. Print can let us see, hear, feel, and taste. Print engages all the senses. Those who skillfully play this range of possibilities add value to communication, enhance quality, support a company’s unique identity, and ensure the right image is conveyed. Print is alive! No other medium can express multisensory perception better than print. Print evokes emotions and creates added value. Yesterday, today, and tomorrow.

«The pandemic has accelerated growth in areas we couldn’t have imagined two years ago,» explains Peter Schäfer, Chief Strategy Officer and member of the Executive Board at Serviceplan Suisse. First and foremost, digital transformation, but also e-commerce and climate protection. On the following pages, we’ll show how this is reflected in marketing: the nine major marketing trends for 2022.

1. Digitization

The biggest trend and the biggest challenge in marketing in 2022—all in one. After all, digitalization brings not only enormous opportunities and possibilities, but also new challenges. According to the «Marketing Tech Monitor 2021» benchmark study, which examined companies« marketing technologies and strategies in the DACH region, while most companies have the will to undergo digital transformation, consistent action is often still lacking. »There needs to be a shift in resources,« says Serviceplan manager Peter Schäfer. Employee skills also play a key role: »It’s essential to have the right people. Everyone working in marketing or related fields must embrace and understand the ‘digital first’ mindset.”

2. Artificial Intelligence

AI (Artificial Intelligence) has been making headlines for several years now. But 2022 could be a pivotal year for the field, including in marketing. What can AI accomplish here? «It can analyze interactions to reveal previously undiscovered correlations and assess demand for services in real time to allocate resources and identify dynamic patterns among consumers,» says Schäfer. This represents enormous progress in marketing. AI could also play an increasingly significant role in content creation: «Artificial intelligence will permeate all areas of content creation in the coming years,» says Marco Schlauri, founder and CEO of the B2B SEO and content marketing agency Digital Leverage. AI can also support marketing efforts when it comes to optimizing budgets. A study by the University of Zurich and Nexoya showed that when it comes to optimizing campaigns, artificial intelligence is actually superior to humans.

3. Sustainability

Greenwashing? Not a chance. In 2022, consumers will be taking a closer look. «Sustainability is becoming a basic requirement and a growth driver. And by 2022 at the latest, it will no longer be a differentiating factor,» says Luitgard Hagl, Executive Creative Director and member of the executive board at Jung von Matt Limmat. After all, customers are increasingly expecting sustainable practices, and companies must act accordingly. «This issue will grow because of consumer needs—not because of corporate policy. Companies have no choice but to respond,» adds Peter Schäfer. And this goes hand in hand with another trend: the return to regionality. According to GfK, more than half of Swiss consumers would like to buy more from smaller suppliers and local producers in the future. But regionality doesn’t have to be limited to one’s own backyard, says Marcus Schögel, associate professor at the Institute for Marketing and Customer Insight (IMC-HSG), because regional brands and offerings do not automatically contradict globalization: «Brands are rooted locally and use that to establish a global presence as well.»

4. Personalization

More data, more possibilities. After all, the more you know about your consumers, the better you can address them individually—and that’s exactly what they increasingly expect. «The ever-greater availability of data is leading to an ever-more-precise segmentation of target groups. Individualized assets are deployed for virtually every micro-target group,» says Carsten Jamrow, Executive Creative Director and member of the executive board at Jung von Matt Limmat. The challenge here: «It’s becoming harder for brands to consistently reflect their brand essence across all touchpoints.» Colleague Luitgard Hagl adds: «…and at the same time, not losing sight of the quality of each individual, personalized asset. This is where agencies and marketers with a modern mindset and the ability to lead brands strongly and consistently will stand out. Not everyone has to see the same thing, but everyone has to feel the same brand.»

«A compelling corporate purpose will become even more important in the future. And the future begins in 2022.»

5. Humanity and Purpose

The pandemic has also brought the human factor back into focus. This means that customer relationships and customer loyalty are gaining in importance, as are issues such as diversity, inclusion, and gender. The reason: «Social distancing during the pandemic and new work models have made us increasingly aware of how important team spirit, people, and talent are,» says Serviceplan manager Peter Schäfer. Trust, authenticity, and emotions are also playing a greater role in communication once again. «More than ever, brand perception is determined by the connection between what is promised in advertising and what is ultimately delivered by the actual products and services,» explains Carsten Jamrow. And even if «we’re actually sick of hearing the word »purpose,«» as Sören Schröder, Creative Director and member of the executive board at Publicis Zurich, puts it, “unfortunately, that doesn’t change its relevance. Because more and more consumers expect brands to stand for something and embody a certain stance. Only then are brands able to support consumers in shaping their identities. A compelling corporate purpose—or sense of meaning—will therefore become even more important in the future.” And that starts in 2022.

6. Social Commerce

E-commerce was one of the hottest trends during the pandemic—and it’s here to stay, with ever-evolving variations. The latest trend is social commerce: If the customer can’t come to the product, the product must come to the customer. In this case, customers aren’t actively searching for a product; instead—just like when window shopping—they’re inspired by what they see on social media and can purchase products right there. «A huge growth opportunity,» says Peter Schäfer, «especially among Gen Z and millennials, both of whom are driven and motivated by influencer content.» Even though the scale may still be a long way from what’s possible in Asia when it comes to social commerce—2022 will bring significant changes here.

7. The Post-Cookie Era

Even though Google has postponed the end of cookies until 2023, the issue could already start to have a noticeable impact on marketing as early as 2022. Expert Alexander Igelsböck, co-founder and CEO of the marketing analytics platform Adverity, sees this as an opportunity: «Marketers and technology companies need to be prepared. They now have a little more time to align their targeting and measurement practices. Overall, this is a good thing for the user experience and data control. The transition means that advertisers will have to collect and use first-party data, which is a more robust targeting method anyway. It should lead to higher-quality ads and less irrelevant content. Ultimately, companies will need truly robust data governance to control and manage their data and enable data democratization.»

8. Voice Marketing

Although it was already hailed as a hot trend for the year that is coming to a close, voice marketing has not quite made its breakthrough yet. Perhaps 2022 will be the year of voice; Serviceplan expert Peter Schäfer, in any case, predicts «rapid growth in all areas of life.» However, he does not believe that voice will replace offline and online shopping. The Swiss are, in any case, relatively open to voice functions: According to the «Voice First Barometer,» a representative study on voice user interfaces conducted by the University of Lucerne, one in two Swiss people were already using voice user interfaces at the beginning of the year; 30 percent use them as part of their purchasing decision-making process. Alexa, we’re excited to see what 2022 brings!

9. Live Formats

Whether it’s live videos on TikTok, live shopping events, or livestreams on Instagram: New features are constantly emerging that enable brands to connect with consumers live and directly. What Chinese internet giants have already successfully pioneered is also growing increasingly in Europe. Live-stream shopping with interactive and chat features could become an exciting sales channel in 2022.

Resist change or embrace it?

As a rule, we encounter two types of B2B companies: those resistant to change and those that are digitally savvy. Our change-resistant clients wonder whether modern B2B commerce is really right for them. They doubt the value of investing in online commerce and intend to continue selling through their distributors and wholesalers, just as they always have. They want to manage their customer relationships themselves and resist change—or even believe that their customers neither need nor want it.

Some customers who are resistant to change view B2B commerce merely as a marketplace where the goal is to distribute more goods to more sales locations. Others want to dominate the entire marketplace and involve only their own partners. A third subgroup, which includes large multinational companies, offers such a wide variety of brands that it sees no way out of its complex system. It is therefore trying to improve its current analog approach.

Then there are B2B customers who are 100 percent committed to online commerce. They have laid the groundwork for it but are not generating enough added value. They want to develop digital capabilities that will enable them to support their customers across the full spectrum of their business needs. These companies realize that most B2B sales interactions will shift to digital channels over the coming decade—and that new technologies will not only fundamentally change the way they find and retain customers and bring products and services to market, but will also fundamentally transform their supply chains.

Customer expectations are changing rapidly, whether companies resistant to change like it or not. The shift of retail to the internet had already begun before the outbreak of the COVID-19 virus; the pandemic has accelerated this transformation. Customers have discovered 24/7 service, seamless omnichannel journeys, and personalized experiences—a compelling combination. They now expect this experience not only in the B2C world but also in B2B business.

A Strategy for Every Channel

Many of our clients who are resistant to change actually know that digital transformation is crucial to their survival. But they hope the problem will simply go away if they ignore it or put it off. However, those who have not yet embarked on customer-centric transformation are already falling behind—slowly at first, then at an ever-increasing pace.

Our tech-savvy customers who have jumped on the B2B commerce bandwagon know that the transition to B2B online commerce involves significant challenges and takes time. However, the benefits of an e-commerce model are too compelling to ignore. When used correctly, digital B2B channels open up many new opportunities: lower service costs, greater value for customers, an expanded customer base, more loyal customers, real-time feedback, and cross-selling and upselling with segmented and personalized offers.

«Online retail isn't just another opportunity; it's inevitable—customers are demanding it.»

The fact is, there is neither a one-size-fits-all solution nor a perfect channel. For the future of data-driven omnichannel sales, a strategy must be developed for each channel. This means combining online and offline channels in a way that offers customers the convenience they need and allows each channel to remain profitable and deliver added value. It’s also not enough to simply digitize product catalogs and provide basic online sales functionality. To stand out from the competition, B2B retailers must focus on the customer and their true needs. Companies must align their processes with their customers and ensure they can deliver on their promises. They should view the digital commerce model as an integrated business function that establishes a genuine connection with customers and simplifies their lives.

Challenges and opportunities

The development of a new retail platform also has an impact on existing distribution channels and networks. This can lead to conflicts with retailers that aren’t a good fit, but it can also enable a new mix of online and offline retail. Some distributors have developed digital solutions that meet the needs of both manufacturers and end consumers. As companies embark on their B2B journey, they must ask themselves: «Are my suppliers ready to go down this path with me?» The changing dynamics of distribution channels necessitate decisions: With which distributors should the partnership continue, and with which should it not? How does the new business model affect inventory management? How are relationships with retailers changing? Which third-party B2B marketplaces offer attractive sales opportunities, and how can they be leveraged? In any case, companies must work closely with retailers and suppliers to ensure that they can fully meet the new requirements.

Online commerce isn’t just another «significant opportunity» for B2B companies. It’s inevitable; customers are demanding it. Companies are under immense pressure to navigate the transition to the virtual marketplace «correctly,» and the disruption that comes with it is very real. But B2B e-commerce is worth it. Companies can increase their market reach and impact, improve sales effectiveness, delight customers, and gain a significant competitive advantage over rivals. Furthermore, B2B e-commerce could drive digital transformation at many companies and pave the way for a future-oriented business model.

«What happens if you don't change?»

What are the biggest challenges facing B2B companies?

Typically, this involves complex legacy systems and conflicts between sales channels that make the transition difficult. Then there are companies that fear e-commerce solutions will cannibalize their existing business. To these companies, I ask: «What happens if you don’t change?»

How can companies set themselves apart from the competition?

It’s worth keeping an eye on certain trends, such as B2B marketplaces or headless commerce. With a headless commerce platform, for example, companies and brands can decouple their backend from the frontend and link the standalone components in a way that leads to a better customer experience. But the most successful companies are those that truly understand their customers and their needs and then place them at the center of their transformation.

What approach should companies take when it comes to data security?

This is an important question, because a fully digital journey can increase the number of potential points of vulnerability—and every cyberattack poses a costly risk. Implementing technologies and controls to protect customer data is a central part of any transformation.

Would you like to learn more? Then download the PwC Study on the Future of B2B Commerce Scroll down to see the detailed results.

m&k: Stefan Vasic, before you 2021 Head of Marketing at Swiss While you were with the airline, your responsibilities included managing sponsorship partnerships. 2020 was supposed to be a «sports year» for your company—but then the pandemic hit. How challenging was that period?

Stefan Vasic: We had to react incredibly quickly—we had to find ways to address not only the new financial demands but also the staffing needs. On the other hand, we were determined to try to retain at least part of our broad partner portfolio. In the end, we reduced Swiss’s sponsorship activities by a third, which was often difficult. At the same time, I learned a great deal from this involuntary learning experience.

Caroline Drischel, as Head of Brand Experience, you had to walk a tightrope—between customers who were canceling trips en masse and the few who continued to fly with Swiss. How much does something like that take a toll on a brand?

Caroline Drischel: The term «balancing act» describes it quite well: Anyone who flew with us during the height of the pandemic should have experienced us as a confident brand; they should have been able to trust our hygiene standards, our customer focus, and our flexibility. On the other hand, those who—and unfortunately, this was a huge number of people—had to cancel their trips should have been «taken care of» by our service staff. Even when frustration and anger were, at times, extremely high. In both cases, our company was—and still is—called upon to deliver on its «brand promise»; this is where it becomes clear whether customer focus is just an empty phrase or something we truly live by. It’s no walk in the park, and we haven’t put the crisis behind us yet.

Specifically, what expectations did you encounter from your passengers?

Drischel: Over the past few years, we’ve focused heavily on the «upper funnel» and sharpened our brand. We emphasized values like inspiration, passion, and emotion. Then, suddenly, everything had to be purely fact-based. The customer who wanted to fly needed to know: What happens next? What do I need to bring with me? They relied on us to help them. And we had to learn to understand this shift in customer focus internally as well. As a result, we engaged in more direct customer communication than ever before.

Vasic: To put it simply, an airline «only» transports people from one place to another. Before the pandemic, entry requirements for individual countries were the responsibility of each traveler and a relatively static matter. At the height of the COVID-19 pandemic, however, passengers’ expectations changed in such a way that we, as an airline, were obligated to be fully informed: What do I need if I want to go to Spain? What if I’m returning to Switzerland from Turkey? We quickly recognized this need and took steps to meet it.

What lessons have you learned from this new responsibility, which was essentially imposed on you?

Drischel: The fact that Stefan Vasic and I hold the positions we have today is also related to a reorganization of the entire marketing, product, and customer service division. Even before the pandemic, the Lufthansa Group, as our parent company, had recognized that we weren’t operating with a strong enough customer focus. The pandemic was the catalyst we needed to finally integrate marketing, products, and services more closely.

Vasic: The impact of the pandemic on travel has taken a heavy toll on all of us, but especially on our guests. That is why it is our stated goal to do everything we can to remain in the hearts of our customers—and, more broadly, in the hearts of the Swiss people. At the same time, as a company, we want to—and must—generate revenue and ticket sales. For the time being, the Swiss marketing department will no longer carry out any campaigns that do not contribute to one or the other of these goals.

Also, because the current situation means you have to operate on a limited budget …

Vasic: The next two or three years will be all about maximizing cost efficiency. What we absolutely cannot afford is wasted reach. So we ask ourselves: What spontaneous opportunities can we take advantage of? We’ve even coined a special term for it: «instant marketing»! (laughs) To illustrate, I like to use the example of Euro 2024 «superfan» Luca Loutenbach: It was my social media team that recognized the potential and the effort required to capitalize on his viral photos within thirty minutes. And it took less than an hour for the «superfan» to have his plane ticket to the next Switzerland game. Big impact for a small investment: that’s what we have to keep achieving time and again.

Drischel: That was truly a wonderful story. It made many customers feel: «They see me! In the eyes of my airline, I’m first and foremost a person, not just a number!» That must be our guiding principle in everything we do.

«The next two or three years will be characterized by maximum cost efficiency.»

In the past, you were able to set yourself apart from low-cost competitors through large-scale branding campaigns. Wasted coverage or not, you invested enormous resources in those campaigns. Will a radical focus on the customer now become your new unique selling proposition?

Drischel: I’ll mention a few keywords that represent what we want to stand for in the future: «Trusted Servicing,» «Carefree Travel,» «Tailored Offering,» and «Dialog.» Are we already achieving this one hundred percent? No, unfortunately not yet. But we’re on the right track. You can always tell when you talk to friends and ask, «So, how was your flight?» In the past, it was always about the seat or the food; that’s what people would talk about. Today, it’s about whether I had a worry-free trip and whether everything went smoothly. That’s what our customers expect today, and that’s what we need to deliver.

What does this mean for the advertising campaigns you plan to run in the future?

Vasic: We are currently rolling out a marketing campaign designed to help our guests rediscover the true value of travel. And that value is as individual as each person’s own values. Especially in difficult times, the motto should be: «Travel is what you make of it.» Swiss is here to support people in that journey.

«But we have another dream: to be the airline in Europe that combines a perfect customer experience with certified sustainability.»

You have clearly outlined your tasks for the near future. What are the plans for the «post-coronavirus» era?

Drischel: We share a problem with many other airlines: We don’t know our customers well enough. We have to ask them every single time what their preferences are and where they’d like to fly. We have to ask for their credit card number. That’s why creating detailed customer profiles will be a major, important project. But not because we want to market to them, but because we truly want to get to know our passengers. And because we no longer want to ask on board, «Would you like your water with or without carbonation?» Our cabin crew should already be able to tell when someone boards. Or imagine you’re returning from a business trip to South Africa, and the cabin manager on your connecting flight asks you: «You’ve been traveling for a long time—would you prefer just a light dinner and then some sleep?» By the way, we’re not just thinking about frequent flyers, but also about people who travel with us to Mallorca only once a year. Their preferences are important, too.

Vasic: And that, in turn, affects the offerings we promote in our marketing. I can’t offer a first-class flight for one person to a family of four just because I don’t know that behind the profile there’s actually … a family of four. (laughs). That, too, is part of the issue of wasted coverage. And the better we know the customer, the better we’ll be able to provide that customer with relevant information.

Drischel: But we have another dream: to be the airline in Europe that combines a perfect customer experience with certified sustainability. We don’t want sustainability to remain just a buzzword; we’re serious about it. In the medium term, we want customers, investors, and independent auditors to confirm that no one does this better than we do. Everything we do should be completely transparent—where the water in the cups comes from and the cardboard used to make them; where we source our food for in-flight meals; and what we’re doing to offset our CO2 emissions. We still have a lot of work ahead of us, but we’re extremely motivated to get it done.

Caroline Drischel has been Head of Brand Experience at Swiss since February 2021. In this role, she is responsible for the strategic roadmap for all customer, product, and marketing matters at the airline; previously, she held leadership positions at Lufthansa, Swiss Re, UBS, and Renault, among others.

Stefan Vasic He has been Head of Marketing at Swiss since July 2021 and is responsible for implementing all marketing initiatives as part of the global Lufthansa Group strategy. Previously, he headed the Sponsorship & Events department at Swiss, among other roles, and also served as the airline’s media spokesperson for several years.

Michael Conrad was born in Leipzig in 1944 and fled to the West with his mother in 1952. After completing an apprenticeship as an industrial clerk and holding various positions, the self-taught professional joined Young & Rubicam in 1968, later moving to Ogilvy Mather. In 1972, he helped found TBWA in Frankfurt; this was followed in 1975 by the founding of Lürzer, Conrad. In 1980, the company merged with Leo Burnett, where he rose to the position of Global Chief Creative Officer. Michael Conrad is married, has three children, and has lived in Zurich since 2000. He is a co-founder of the Berlin School of Creative Leadership, an Executive MBA program for creative executives.