m&k: Carl Tillessen, your first book, *Consumption: Why We Buy What We Don't Need*, became a bestseller. Were you surprised?

Carl Tillessen: Very surprised, yes. I've always enjoyed writing, but professionally speaking, writing didn't play any role at all during the first 25 years of my career. In that sense, I didn't see myself as an author either.

Tell us more. What did you do during the first 25 years of your career?

I actually have a degree in business administration, a degree in art history, and originally wanted to go into the art trade. But then I decided to go into fashion instead. After that, I completed some vocational training in the crafts.

What fashion craft did you learn?

I'm a master tailor. At first, I worked for various designers, and then my partner and I ran our own brand for 17 years. We had six stores of our own, an online shop, and a cosmetics license. We closed the business six years ago.

Why?

That's a complex question. We weren't insolvent with our label «Firma»; we just didn't see any future for it in many respects. In the end, I felt liberated, but it was painful.

How do you spend your time these days, aside from writing?

As a consultant and trend analyst. With a focus on retail. Increasingly under the umbrella of the DMI, the German Fashion Institute. A very misleading name, because, first of all, it’s not just German; second, it’s not just about fashion; and third, it’s not just an institute. It’s actually a trend agency that now operates internationally. And I’m a partner there.

«I think it's important for companies to closely monitor and anticipate changes in consumers» value systems."

Did you write this book to come to terms with the past?

Actually, it was the other way around. I spent ten years doing research without any particular purpose in mind. I did it simply because these are topics that interest and fascinate me—out of personal curiosity. And in part, it was also a way of coming to terms with trauma, because I wanted to understand the structural changes that ultimately led us to give up our brand.

When was the last time you bought something you didn't need?

«Need» is a flexible term. If we know that something brings us great joy, and we also know that we’ll use it, that’s a good reason to buy it.

Have you become immune to the urge to buy?

Not at all. Obviously, my passion is fashion, and that’s where I really lose my head. My heart starts racing, my palms get sweaty, and my throat goes dry—that’s how desirable the treasures on offer seem to me in that moment (laughs).

Do you feel guilty when you give in to this craving?

I've spoiled the fun for myself a bit—that's true. I'd put it this way: I've become stricter with myself. I don't allow myself to make exceptions as often anymore.

Can you give us an example of such exceptions?

If I want to buy an outdoor jacket that I know I’ll wear for years, I’ll buy it from Vaude or Patagonia. My child needs new pants and will outgrow them in no time anyway, so I go to H&M. Or: I eat healthy, but on this eight-hour car ride, I’ll stop at McDonald’s. We allow ourselves these exceptions for all sorts of reasons.

You write that we're all chasing that dopamine rush, so we're addicted to some extent.

Six percent of all people are described as addicted to consumption. But we don’t talk about that. For me, addiction begins when something exerts a pull on us that—not just once, but regularly—is stronger than our good intentions. People like to portray this as a harmless little weakness. But the fact that we do it collectively means it’s no longer a harmless little weakness.

What are the implications of this?

The problems can be summarized into two broad categories: environmental unsustainability and social unsustainability. I am convinced that consumers bear the primary responsibility for environmental unsustainability, but when it comes to social unsustainability, policymakers bear the greatest responsibility.

Is anything happening in politics?

In any case, those who had hoped for voluntary self-regulation by companies have often been disappointed. People had actually thought that events like the Rana Plaza disaster would lead to progress, but since then, there have even been setbacks when it comes to working conditions and wages in manufacturing countries. In that respect, I’m somewhat disillusioned. However, it’s also important to understand that this relatively new combination of economic concentration and globalization is what has enabled companies to dictate working conditions and wages on the other side of the world in the first place. Policymakers have now become aware of this, and they’re responding—step by step.

When things don't happen right under our noses, we tend to look the other way.

This brings us back to the question of corporate responsibility. No CEO says, “I have a great idea—from now on, we’ll use child labor and slave labor; that’ll save us a lot of money.” It’s more a case of collective willful blindness. You place an order—a cosmetics manufacturer buys this glitter powder that comes from mines where child labor is widely used. And then the cosmetics manufacturer says, “I don’t want this to involve child labor.” Then the supplier says, “Okay, but that will cost this much.” In reality, however, that’s not the cost of eliminating child labor—it’s the cost of bribing the official who certifies that the product was manufactured without child labor. That means, of course, you can simply accept this certification—or you can verify it and try to monitor the situation.

«»Need» is a flexible term. If we know that something brings us great joy and we’ll actually use it, that’s a good reason to buy it.”

Is that really possible?

In my view, the claim that it can’t be controlled is just an excuse. Especially when a fashion company can guarantee the quality—that every stitch is perfect, that the care label is exactly twelve centimeters from the hem, and so on. If they can monitor and ensure all of that so meticulously and precisely, then they can also guarantee and ensure that no child labor is involved.

If we, as consumers, base our purchasing decisions on social responsibility, we can really make a difference, can't we?

Yes. People aren’t really aware of this power. Social media has given rise to extremely powerful platforms that can be used for both good and bad. There’s an interesting study by the FAZ Institute on the «fan principle.» From most companies’ perspective, it’s like this: as long as customers are still buying, everything’s fine. But this study shows that there are fans who buy enthusiastically, and then there’s a whole spectrum all the way down to the captive—the mercenary—who buys reluctantly. I believe companies don’t pay enough attention to the fact that enthusiastic customers can turn into reluctant customers—customers who are just waiting to find something else, only to then leave in such a landslide that companies can no longer take countermeasures.

An example?

There’s been a whole series of scandals on Facebook. And this oh-so-friendly social network has suddenly turned into a «scumbag company.» At first, user behavior on Facebook hasn’t changed all that noticeably. But people’s aversion to it is growing, and when alternatives like Instagram suddenly emerge—or other social media platforms become available—there’s a landslide that’s almost impossible to stop.

«Companies don't pay enough attention to the fact that enthusiastic customers can turn into dissatisfied customers.»

What's the deal with this trend toward reducing consumption?

The first step toward more conscious consumption was talking about quality, and now people are talking about the quantity of the things we buy. And here, too, we see that attitude-behavior gap again.

How exactly do you mean?

In 2020, retail sales in Germany were five percent higher than in 2019. That means people bought more things than the year before, even though everyone was talking about how we should buy less. But I’m convinced that this will eventually catch on with the mainstream—albeit with a few years’ delay—and will then also become statistically verifiable. Even traditional fast-fashion retailers like H&M are having to launch concepts like Arket, which are more durable in terms of both design and quality. The paradigm shift is coming.

What are your thoughts on the fashion and advertising industries?

When I was choosing a career, advertising was fantastic. Back then, people would even go to the movies to watch a one-and-a-half-hour compilation of commercials. It was part of our cultural heritage. I’m not just talking about its commercial relevance, but about the prestige and glamour it exuded. Today, advertising is frowned upon, and creators have to find ways not to annoy consumers. In countless conversations, I’ve heard that there are many people like me who long to be proud of their industry again. What I’ve learned isn’t just my profession—it’s also my calling.

How do you live with this knowledge now?

I believe it is more important than ever for companies to closely monitor and anticipate certain developments, such as changes in consumers' value systems. I am happy to advise them and offer my expertise.

How can companies anticipate this?

It’s not about hoping that the skeletons in your closet will remain undiscovered. It’s about saying: Okay, they’re there, they have to go—what do we do now? Better to deal with it now than to wait until they’re discovered and we lose control of the whole situation. That’s an important message.

You open the chapter «Globalization and Consumption» in your book with a quote from the Dalai Lama. As a trend analyst, how do you see the future in this regard?

People never change until it hurts. The bad news is: It's going to hurt. The good news is: Something will change.

---

The book is available at all major retailers, as well as on the website of Carl Tillessen.

m&k: Chris Dercon, Let me start with a question that sounds simple: What comes to mind when you hear the word «creativity»?

Chris Dercon: What comes to mind are articles and lectures I gave almost 10 years ago, when I was working in Germany. Back then, I was very critical of the overuse of the word «creativity.» For me, creativity was—and still is—very closely tied to a neoliberal concept. It’s really about exploitation—self-exploitation. The so-called «creative class» in our Western society has largely become a construct in which people live in precarious conditions and have hardly any opportunities to «make it.» Meanwhile, a select few decision-makers dictate to them how they are to think, how they are to be, and how they are to behave “creatively.”.

«Creativity leads to enthusiasm, and unbridled enthusiasm can be a dangerous thing.»

Could you explain that in more detail?

We’re always saying that we want «people to be creative.» But creativity leads to enthusiasm, and unbridled enthusiasm can be a dangerous thing: it shifts your focus and makes you forget that life isn’t limited to the one thing you’re passionate about. When I look at cities like Berlin, I see all these communities of people who are enthusiastically «creative» and dream of using their work to escape their precarious living conditions. But the more enthusiastic they become, the more precarious their living conditions often become. Because others profit from their work; those who employ them for little money profit, but they themselves do not.

That sounds like the concept of a false, pseudo-creativity. But is there also room in our world for «real creativity»?

I would define true creativity as the ability to think outside the box; the ability to think transformatively. It’s the ability to connect things; to find answers to questions for which no solution had previously been found… it’s a way of thinking that goes beyond established categories. I consider everything else to be false creativity or, as I said before, a form of exploitation. It’s quite interesting: When I looked up the word «creativity» before our interview, I discovered that Verso has just published a book titled *Against Creativity*. This book contains many of the ideas I’ve been talking about for years—which is quite gratifying, but also a bit sad. I thought the issue was «settled.» I thought we’d dealt with creativity enough (laughs). But obviously, the misuse of the word isn’t over yet. I’ll say it again: We need to be aware that many people still use the word «creativity» to maintain a system in which there are only a few winners and many, many “creative” losers.

«For me, creativity is very closely linked to a neoliberal concept. It's about exploitation—self-exploitation.»

This «true creativity» you mentioned—I wonder if it’s limited to the arts: theater, music, painting, and sculpture. Or would you say that true creativity also exists in the business world?

True creativity exists in areas other than art as well. Scientists in almost every field of research must be creative—they must come up with original ideas, take risks, and try new things. And sometimes the same could apply to the business world, couldn’t it? On the other hand, the purpose of every company is, of course, to develop mechanisms for making money. And most of these mechanisms are based on exploitation, which brings us back to square one. As Kolja Reichert recently wrote in a brilliant essay titled «The Trump-Balenciaga Complex,» «the meaning, content, and success of a brand are created by the users themselves, with their unpaid labor leading to a new model of exploitation that is difficult to track and particularly difficult to stop.».

A shout-out to the fashion industry!

Yes, all of this becomes particularly clear in industries that are considered rather «glamorous»: Just think of the poor interns who are completely exploited by the fashion industry. Famous models are well-paid, as are well-known designers… but up-and-coming photographers, stylists, and makeup artists accept almost any form of lousy pay because they have to work to stay in the system. And of course they have so-called creative jobs, but my God, what a form of exploitation this is!

«Being a curator is a profession in which you take many risks and can lose battles.»

Is the job of a curator essentially a «truly creative» one?

My job is to think outside the box. My job is about taking risks and connecting things that come from many different directions in a way that’s never been done before. I greatly admire the writings of Alexander Kluge, who says that everything can be «connected» to everything else if you approach it the right way. For me, that’s the essence of what I do. But… does that make it creative? I’ll leave that judgment to others. For my part, I mainly realize that the work is very hard and very complex. And that it’s about applying what I’ve learned in a transformative way. If others call that creative, that’s fine by me. I’d rather say it’s a form of intellectual authorship—and not least, a profession in which you take many risks. One in which you can lose battles, but ultimately perhaps win the war.

I didn’t just want to talk to you about creativity; I wanted us to explore together the connection between creativity and brands, or branding. You’ve led some of the world’s most prestigious «museum brands»—how did you handle the expectations that the history of these brands entailed?

I know what you’re getting at with your question, but I would be very cautious about using the term «museum brand.» I’ve worked in many museums, but very rarely were they brands. Let’s say the Tate in London has become a brand because it appeals to a mass audience. If you set out to do that and succeed, then you’ll likely evolve into a brand. But to do that, you have to generate incredible revenue and implement an aggressive business model and a strategy of continuous growth. That said… I don’t believe that achieving «brand status» is necessarily a criterion for a successful museum.

Or what?

A successful museum project is about creating life after death—a life after death that emerges from new connections between existing works; from a sense of moral and intellectual authorship; and from a vision, a particular understanding that invites visitors to share in it.

But what about artists« »brand status”? Do they generally strive to become their own brand?

I have been engaged in an intensive dialogue with Rem Koolhaas for many years. He is an architect, but as I understand it, he is also an artist. Rem is often referred to in the media as a «brand.» And I know how angry that makes him. He is firmly convinced that—if you’re given a concise but static label—that’s the best reason to seek out a completely different form of expression. And that is exactly what he does, for example, in his collaboration with Miuccia Prada. In a sense, they are kindred spirits: they steer strong and clearly distinguishable brands, but not in a way that makes them static or recognizable solely through repetition. Prada and Koolhaas are the moral and intellectual masters of their image, and that’s why they have no problem repeatedly pushing beyond their supposed boundaries. That’s the kind of branding I’m interested in.

I can also think of a few artists who play with the concept of branding—those who comment, either humorously or critically, on the idea of being an «artist brand» …

Yes, you can be an artist and, for artistic purposes, act like a brand! Andy Warhol did that, Jeff Koons does that, Maurizio Cattelan does too, in a way … and, of course, Damien Hirst. Their work is about recognition within the art world and the various nuances that come with it.

«A successful museum project is about creating life after death.»

Chris Dercon's venues: Tate Modern in London, the Grand Palais in Paris, and the Haus der Künste in Munich.

The Damien Hirst retrospective at London’s Tate in 2012 was one of your first major exhibitions as director of the museum. I remember seeing it—and being hugely impressed. There were many works that played with the idea of what brands and branding mean.

You’re right. You were certainly impressed by the artist’s intelligence, which was evident in that exhibition. And I think the exhibition also made a point back then: «Listen up, folks—you need to take Damien Hirst much more seriously!» However: If this exhibition had any effect, it wasn’t that it strengthened Damien Hirst’s brand. Rather, it helped establish an understanding of his creative power and authorship. Because it showcased all the depths and nuances of his work. And of course, we also exhibited the pill cabinets, which are likewise about branding and labeling. But artists like Hirst and Warhol—they essentially sell themselves short at first by leading people to view them primarily as “artist brands.” In a second step, however, they challenge us to look beyond precisely that, and when we do, we see just how rich, intelligent, and beautiful their work is—and how deep its roots run.

«In the end, the question is: How can my work live on beyond me, and how will it?»

In an interview with *The Independent* shortly before the exhibition mentioned above, Hirst said of himself: «I’m not an artist—I’m a brand!» Is he referring with this statement to something specific, such as the «dot paintings,» which are reproduced by his staff and then sold? Or do you think he’s playing with the concept of brand identity?

He’s playing around. Just like he’s doing now with his work on NFTs. He’s created a kind of meta-concept of authorship. Just as Andy Warhol did when he said that everyone has a chance at fifteen minutes of fame. Of course, that was a game for Andy, who pretended to be completely relaxed about his own fame! Or think of Jeff Koons, who seems almost too honest to be real. He, too, plays with this image. None of the artists mentioned is really a brand, but they represent work that engages with the concept of branding.

Are you also trying to expose the mechanisms of the art market?

Yes, absolutely. And they make it very difficult for you to reach that point of realization. They cover their tracks because that gives them the opportunity to talk about fame in the art world. It’s a way to philosophize about the end of the avant-garde. It’s also a very clever method for imbuing their works with many different layers and dimensions.

But when certain artists are actually «hyped,» does that change their work? Do they end up chasing the brand that galleries or collectors have created for them?

Of course, there are artists for whom becoming popular is synonymous with success. And while they may attract a few collectors, they are rarely selected by reputable curators for exhibitions; their work rarely ends up in museums, and, I suspect, not in truly good private collections either. Consumer art has always existed, based on the simple principle of «return on investment.» But that is something entirely different from the pursuit of artistic authorship. Because in the end, the most important question one must ask is not about the work’s recognizability or its return on investment, but rather: «How can and will my work live on beyond myself? How will it remain significant and continue to exist?» And when you ask yourself these questions, you can only reject the idea of a static brand.

So, as an artist, one should view one’s work from the perspective of a fictional retrospective—and consider how one’s body of work will be viewed in its entirety in the future?

That's right, exactly! It's an internal, artistic process. You try to understand what you’re doing and what else you’d like to accomplish in the time you have. If you focus solely on making a name for yourself, you won’t achieve that—there are simply too many contributing factors that are beyond your control. What you can do, however, is build confidence in your own work—a confidence that comes from within and isn’t imposed on your work from the outside. If there is such a thing as true creativity, it’s the attempt to attain that confidence.

---

Chris Dercon is a Belgian curator and theater scholar. He is considered one of the most internationally renowned figures in his field: he served as director of the Haus der Kunst in Munich and the Tate Gallery of Modern Art in London, and was also artistic director of the Berlin Volksbühne from August 2017 to April 2018. Since January 2019, Chris Dercon has been the new president of the Association of National Museums and the Grand Palais on the Champs-Élysées in Paris.

m&k: Roman Reichelt, you were responsible for marketing at Migros for almost ten years before moving to Credit Suisse in 2018. Was the "orange giant" a good school for international finance?

Roman Reichelt: My time at Migros was one of the best lessons in customer centricity. At management level, the motto was always: "Fulfil the customers' wishes and then look at how you can optimize costs in the second step." Not the other way around, that they wanted to market profitable but irrelevant products. That really shaped me: to act with a lot of brain, heart and gut feeling based on the needs of the customers.

What hardly anyone knows is that your job at Migros not only taught you these lessons, but also earned you gold and platinum records. At least I don't know of any other CMO in Switzerland who can make that claim.

You studied the wall behind me in the Zoom call very carefully. (laughs) The panels have been hanging there unnoticed for years because no guest ever came into this room. Now it's the most public. Perhaps I should say that I'm the member of N'Sync that nobody remembers, and rightly so ... (laughs) The truth is: I was involved in the Christmas song that Roman Camenzind wrote for Migros a few years ago. Roman and his team let me have a little say in the lyrics, melody and choruses. Hitmill was then kind enough to include me in the credentials.

So why the change of industry? You could have stayed on and co-composed more Christmas hits ...

Do you think so? (laughs) On the other hand, I knew that after ten years you can get into a certain routine. You can do Christmas marketing eleven, twelve, thirteen times. But at some point... maybe you copy yourself? That's why I was open to something new.

And that was Credit Suisse. Love at first sight?

I was fascinated by how down-to-earth, smart, honest and likeable the people here at Credit Suisse are. If you don't come from banking, you have a completely different image and imagine distant conversations in cool conference rooms.

What content-related challenges appealed to you?

The challenge I saw for myself can be summarized with a simple question: Why should Credit Suisse be less known for excellent marketing than a retailer? There is no reason for that. We can be more daring, rethink ideas and concepts, and work in an even more client-centric way. The CEO of Switzerland at the time strongly supported me in this view even before I took up the position. We were and still are in agreement: there are not many brands that you can do as much with as Credit Suisse. A global brand with Swiss DNA, positioned on progress for the bold and the curious.

An emotional bank brand?

Where should I start? There are so many touchpoints in the relationship between bank and customer where things can get emotional. The message to entrepreneurs that we are there for them in an uncomplicated way during the Covid-19 crisis is emotional for those affected; the grandmother who comes to the branch with her grandchild to pick up a Digipigi ... but even the supposedly simple touchpoints such as the design of our debit card or the front end of our CSX app create brand loyalty. And now I haven't even mentioned Roger Federer, the national football teams, the CS Super League or our commitment to sustainability and diversity.

You are also fighting against fundamental prejudices against the sector. Do banks have an image problem?

There are certainly clichés that have become ingrained in people's minds over the years. However, these quickly dissolve when you join us - this was the case for me and for absolutely everyone I recruited from outside. You can see how things are tackled here; how passionate the employees are about what they do. That gives me an incredible amount of pleasure. I also want to convey this feeling to customers.

Hand on heart: how challenging have the past few months been?

Basically, our aim is to be part of the value chain and to support the company in all situations in order to be the first choice for its customers. As a football sponsor, I would perhaps say: sometimes it's all about getting the ball into the goal when you're performing at a superior level. And sometimes you have to deal with conceding a few goals and change tactics at short notice before going back on the offensive.

"A brand works like a person: it has DNA, but it can adapt to situations."

It is not only in these times that you are much more exposed as a global CMO today than in the past. What you do attracts more attention, in one direction or the other. Are you actually interested when people write about your work?

In addition to internal opinion, I am of course very interested in public opinion, but not so much in published opinion. I make a very clear distinction between what individual journalists feel at any given time and what the public and our customers think. Sometimes they are congruent, and then you have to question yourself. But if praise or criticism only takes place in bubbles that revolve around themselves, I don't really care. After all, a football coach doesn't react to every single comment on the sports show, he has to have a feel for whether the fans in the stadium are happy or about to boo.

Since you obviously like this metaphor, let's stick with it: if Credit Suisse were a soccer team, its "fans" would be very diverse. They would include millionaires in private banking as well as young people. A tightrope walk for your marketing?

It's more of a balancing act, you can overstretch yourself. For me, a brand basically works like a person: that means it has a personality, a brand DNA, but it can adapt to situations. It doesn't have to look identical everywhere, but it has to operate coherently. I myself behave differently in the stadium than I do at the opera, I even look different. Nevertheless, there is no contradiction. That's the beauty of it. As long as DNA, competence and purpose remain the same in the background, it is completely legitimate as a brand to talk differently to a teenager in the CSX app than to a British entrepreneur who wants to invest 100 million Swiss francs. BMW sells the 1 Series to students and the 7 Series to board members. Everyone finds that completely normal.

Because you gave the example: Do you take inspiration from other brands?

Sure. It suits me that I'm a total marketing junkie. I often deliberately watch commercial breaks on TV - my wife keeps asking me why we even have replay TV if we never use it. (laughs)

Many of your colleagues complain that the general scope of action for CMOs in companies is shrinking. What do you think is the reason for this?

If you allow people to come to the head of marketing just to say: "We need a funny poster - Reichelt, call the agency!", then that's the beginning of the end. Marketing is much more than that: knowing when, why and how a customer decides and influencing that. You have to come to the head of marketing and say: "We can't get enough external customers to switch their accounts to us." Then you have to immerse yourself in the customer's decision and choose your means from the arsenal of possibilities.

And then you need the courage to be creative?

Yes, and also the courage to make real insights that may be painful. I really have to listen: What does the customer want, what bothers them? Why do they decide against us? Is it the brand, is it the user experience or is it because their great-grandparents used to go to the competition? As CMO, I don't listen to the customer so that I can sell them more of the same. But to understand what they would want from me if I didn't yet have an offer. I have a fire in me to track something like that down.

A fire?

We want to set off fireworks. To do this, I first need to have fire in myself to light the first rocket. I have to be on fire for the product, for the company. Otherwise the end result will be mediocrity. You can't "fake" passion either - if you as CMO don't really care who you work for, then your output will also be generic. But if you are "on fire", then you work differently. And you lead your team differently; better.

Like a conductor who is himself enthusiastic about the music he plays?

A conductor who doesn't love the piece to be performed, but just says stoically: "Yes, I know, seventeen violins and three double basses have their cue then and then"... that's a miscast. When I go to a concert, I want the person with the baton to feel personally attacked if the orchestra doesn't put its heart and soul into it.

---

Roman Reichelt is Global Chief Marketing Officer of Credit Suisse. Prior to that, he worked at the Federation of Migros Cooperatives for almost ten years, first as a senior strategist, then as Head of Brand, Advertising, Sponsoring & Digital and later as Head of Marketing/Communications. Before that, he worked as a consultant for companies in several European countries. Reichelt is married and lives near Zurich with his wife and son.

Grandpa runs into Lena in the garden. «Good morning, Lena. I’m glad to see you here. You said you wanted to show me your school sometime.» – «Actually, I don’t even go to school,» Lena replies. Grandpa looks at Lena questioningly: «Then please explain to me how you acquire your knowledge? You already know so much.’ – »You see, I just do what the KLC asks me to do. The KLC is an artificial learning coach, an AI.« – »I see,« Grandpa mutters to himself.

Lena continues: «Dad explained it to me recently so I could better understand the »big picture« of our education system. There are three pillars in the education system. The first pillar is for knowledge-based learning. That takes place in the Matrix, where I have access to a personalized KLC depending on the topic. It motivates me to learn.» – «Hmm, that sounds more interesting than back in our day, when we had to »cram,«» says Grandpa. «And the other two pillars?» – Lena: «The second pillar is about social interaction. There, we’re shown real-life scenarios in the Matrix. We meet artificial people there in the form of avatars. That’s how we really immerse ourselves in the topic. Dad said that’s why it’s also called ’immersive.»« – »But that sounds kind of very artificial,” says Grandpa. – “Oh, Grandpa, I just don’t know anything else,” Lena replies and continues right away. “The third pillar is where we meet only real people—not KLCs, but MLCs. MLCs are human learning coaches. These coaching sessions take place in a normal social setting. That’s the most interesting part for me. It lets me get out of the Matrix and get some fresh air. Being in the Matrix all the time isn’t any fun.”

«But how does that work during the coaching sessions?» Grandpa asks. – «Well, we meet in groups. I think they used to call them »classes.«» – «Yes, those were classes,» Grandpa exclaims enthusiastically. – «Depending on the topic and assignment, a human learning coach guides us. That’s what I like best—when we can work through assignments with other people. But the other pillars are important, too,» Lena says. “Dad told me that in the business world, too, new knowledge and skills are taught and practiced using exactly these three pillars. By the way, he thinks it’s much better than it used to be. It’s called lifelong learning.”

Just then, Lena’s dad joins the discussion. Grandpa asks him right away, «I can see that a lot has changed in the education system since we were in school. What ever happened to all those teachers? Are they all out of work now?» – «No, not at all. They all work for the third pillar of our education system, as trainers and coaches,» Lena’s dad replies.

---

* Jörg Eugster is «The Ambassador of the Future». He regularly writes for m&k from the year 2050, describing how technology and lifestyles have evolved.

 

Most companies today realize that no brand can afford to ignore social media. Yet this area in particular is often viewed with disdain and is sometimes criminally neglected. However, anyone who views activity on social and professional platforms merely as a tedious extra task runs the risk of half-heartedly chasing trends instead of understanding them and making the most of them. I’d like to illustrate this using the example of influencer marketing.

It's about more than just being there

Social media isn’t the Olympics. That means there’s more to it than just participating. Social media has long fulfilled numerous essential functions—whether it’s strengthening your employer brand, setting the agenda, reaching potential employees, communicating with your target audience, or presenting and explaining your products.

Anyone who isn’t active on social media is ignoring a key insight from communication scholar Paul Watzlawick: «One cannot not communicate.» Absence, therefore, is also a statement. So anyone who ignores social media leaves it up to others to formulate and communicate their brand message. Because, whether they like it or not, brands exist on social media.

The Role of Female Influencers in Social Media Marketing

As we all know, communication isn’t just about the message—it’s also about the sender. In the context of social media communication, influencer marketing has long been an indispensable part of the landscape. After all, no one wants trite discount code gimmicks or advertising formats that have simply been copied one-to-one from linear media. In influencer marketing, what really counts is authentic storytelling from credible and genuine individuals. In my opinion, it all comes down to finding the right balance and making a smart selection of influencers. For brands, this means more than ever that they must also invest internally in those who bring expertise in the field of influencer marketing. Influencers aren’t just people who post anything on the internet. Companies must learn to recognize that real expertise is required here.

The Future of Influencer Marketing

In the future, female micro-influencers who can also credibly address sociopolitical issues will be far more important than those with a supposedly large reach. Relevant content and credible communication aren’t measured by high numbers. Followers aren’t a community, and content isn’t necessarily credible. Brands like «Armedangels» have already understood this and are capitalizing on the positive effects associated with micro-influencers. In the future, it will become increasingly important for companies to collaborate with «sinnfluencers»—that is, people who have built a genuine community through their stories—rather than relying “only” on influencers.

---

m&k has recruited Tijen Onaran as a regular columnist for its print edition. She is the CEO of Global Digital Women, author of the *Spiegel* bestseller *Nur wer sichtbar ist, findet auch statt* («Only Those Who Are Visible Are Taken Seriously»), and was named one of the ten most influential people on LinkedIn in 2020.

More than 130 years ago—in 1887, to be exact—the English gentleman Frank Smythson opened his first boutique on London’s Bond Street. There, he offered top-quality stationery and writing supplies. And you know what? The company he founded back then still exists today and publishes high-quality print products.

«When someone picks up a print magazine, their brain switches to »strolling mode.'"

One reason for this long-standing success is that, unlike with online publications, we cannot escape the tactile appeal of print. Because print represents something different, something more glamorous—a cultural asset. And because, unlike online, we come across important content without having actively sought it out. Nevertheless, in the age of electronic media—and especially the World Wide Web—print media are becoming thinner and less common. But print has lost none of its appeal thanks to its multisensory experience, which includes touch and even smell. On the contrary.

An Experience for All the Senses

It is a fact that our perception is guided not only by our sense of sight, but by all of our senses—and here, the sense of touch plays a decisive role. Welcome to the world of multisensory experiences! As a journalist, I’ve always sensed it, but I couldn’t explain it: Print has a credibility, an authority, that the internet lacks. Print is sexy.

Now, the latest findings from neuromarketing confirm exactly this observation. Neuromarketing pioneer Hans-Georg Häusel says in an interview on the topic of print media in the magazine «Visuelle Kommunikation»: «We now know from brain and motivation research that when someone picks up a printed magazine, their brain switches to »strolling mode.’ They are relaxed and absorbing the content. Print is a kind of wellness for the brain.” That is why the marketing departments of all the world’s major brands are exploring how our unconscious emotions can be leveraged to influence purchasing decisions. According to Hans-Georg Häusel, the situation is different with smartphones or tablets. Users want to reach a goal relatively quickly, and that creates a kind of stress.

Hans-Georg Häusel says in the magazine Print media: «Digital possibilities are changing rapidly, but the human brain isn’t changing that easily. That’s why print can do many things simply better than digital media.»

The authority of print media remains unchallenged. Familiar and well-known media (Note: cultural heritage!) are considered more credible than the internet.

According to the Swiss Association for Visual Communication, print media has about seven times the impact on customer loyalty as digital media. Print advertising has a longer-lasting effect than TV commercials. Studies show that, proportionally, more people remember printed images and their messages than they do a short commercial. They are read, leafed through again, and read once more. This long-term visibility is also referred to as the “social authority” of magazines. We encounter them everywhere: while commuting on the train, in waiting rooms, while shopping, and so on. As a result, print has the most lasting impact of all media.

«The power of print in brand building will never be replaced by the internet or video.»

Print media are often handled by multiple people and picked up repeatedly. The key difference between print and online media is that in print, you often come across things you weren’t looking for—including advertisements.

The Renaissance of Print

Print magazines have endured a commercial decline, but not a decline in their reputation as a cultural asset. They have another, cultural dimension—not just a commercial one. Print has the ability to appeal to and reach the deepest recesses of our unconscious emotions.

As media history has shown, new media do not simply replace tried-and-true forms of media. Television did not make radio obsolete. On the contrary, neither the compact disc nor iTunes caused vinyl to disappear. They coexist.

The online world has many advantages. These are now also being leveraged for innovations in print media. Print has learned from online media; for example, PDF documents now use hyperlinks, just like online content.

Bringing Brands to Life

But even so, print doesn't just work when it brings the print and online worlds together. In 1996, Internet pioneer Peter Turi launched Kress.de, perhaps the most widely read online media newsletter in the German-speaking world. Nevertheless, in an interview on Buchmarkt.de, he explains that videos, for example, help his books—not the other way around.

«The power of print when it comes to brand building, inspiration, and creating lasting experiences will never be replaced by the internet or video. We’ve noticed that our advertising business on the online service turi2.de has picked up significantly ten years after its launch. Simply because the print magazine brings the turi2 brand world to life. The fact that we had 20,000 media decision-makers who were curious about our print product naturally helped at the start—especially in securing ads, buyers, and contacts for the first issue.»

As a journalist, I don't just read books and magazines—I edit them. But never the title page or the book jacket. That would be sacrilege. Their authority remains sacrosanct. Quality never goes out of style.

Epilogue: Everything's digital, right? Relax!

In an interview in the «Print Media» section of baselwest.ch, Hans-Georg Häusel comments on the media habits of the much-discussed millennial generation: «According to our research, even young readers of lifestyle magazines find print more relaxing than an iPad edition. Even digital natives are better able to unwind with a printed magazine.»

---

Marco Bieri on Print

«People long for emotions and real experiences.»

Marco Bieri is the chair of the leadership team of the Swiss Print Award. For him, paper has something magical about it. People long for emotions and real life, and that’s what you find in the tactile quality of print.

m&k: Marco Bieri, how have expectations for print changed?

Marco Bieri: Print has changed for the better! It might sound a bit absurd, but digitization has drastically shifted the way people pay attention to print! Many companies have come to appreciate and rediscover the value of print. The public is growing weary of the flood of newsletters and digital advertising.

Where do you see opportunities for print media?

Print is tangible! Printed material can let us see, hear, feel, and taste. It engages all the senses. Humans are multisensory beings who still yearn for emotions and real-life experiences! No other medium can achieve what paper does through its tactile qualities. It adds value to communication, enhances quality, supports a company’s unique identity, and ensures the right image is conveyed.

Where is there still potential for the Print Award?

There’s still a lot of potential here! The Swiss Print Award aims to establish itself as a platform for knowledge and expertise. The goal is to continue expanding this event. It’s conceivable that lectures, panel discussions, or hands-on sessions could be held in the lead-up to the Swiss Print Award. However, the platform should also offer opportunities for networking. The actual «purpose and reason» for the event, though, remain the awards themselves!

What is your personal view on the future of print?

Digitalization has transformed the graphic arts industry enormously over the past 10–15 years and will continue to do so. But it is precisely this challenge that drives print forward. New and different opportunities for print are emerging! Who would have thought that we could create our own personalized postcard on our phone and send it to our loved ones right from a beach chair?! Print isn’t dying! Print will survive—just in a different way.

---

Impact: Why Print Works

1. An experience for all the senses: Print enables multisensory experiences: It appeals not only to the audience’s sense of sight but also to their sense of touch.
2. Brain in Stroll Mode: Research on the brain and motivation shows that when someone picks up a print magazine, their mind switches to «browsing mode.» They are relaxed and absorb the content.
3. Finding what you weren't looking for: In print media, you can also find things you weren't necessarily looking for: inspiration, topics you hadn't come across before, and—yes!—even ads that grab your attention.
4. Print leaves a lasting impression: The Swiss Association for Visual Communication knows that print media has up to seven times the impact on customer loyalty than digital media.

 

m&k: Rainer Esser, who is currently—at the time of this interview— Time The headline reads «Back to Real Life» and talks about a return to normalcy. What did you miss the most during the pandemic?

Dr. Rainer Esser: The lovely conversations with my coworkers in the cafeteria. We have a truly wonderful cafeteria with a rooftop terrace that’s very popular in normal times. I enjoy going there to meet my coworkers; it’s always a lot of fun. I’ve also missed the personal interactions with our guests at Time-Events and conferences. And on a personal level, I definitely missed not being able to meet up with my friends in the evenings at restaurants or at parties.

Still, you don't sound particularly downcast.

Well—when I take stock of the situation, what I’ve had to do without is very easy to get over. Many people have lost friends or loved ones, or have had existential worries. There are companies that have been pushed to their limits. Our brand, on the other hand, has actually seen particularly strong demand in the digital space, so we haven’t had any problems there. So I’m feeling pretty relaxed and cheerful.

The current Time It also asks whether the pandemic has fundamentally changed us—as individuals and as a society. What is your answer to this question?

A lot has changed. It will take a while before the constant handshaking resumes; before most people start traveling again. But otherwise, I think people will return to their old habits relatively quickly. People just like to get together and have a chat. That’s always been the case—and the Black Death didn’t stop it, smallpox didn’t stop it, and COVID-19 won’t stop it either.

I had the opportunity to see you speak in person at the Swiss Media Association’s Epiphany Conference in January 2020. Your optimism that day impressed the audience. Were you able to maintain that same optimism during the crisis?

Yeah, why not? (laughs) Whenever one door closes, two others open. You just have to figure out where those doors are—or actively create them. Of course, for example, we have «Time»-Travel,« a wonderful program featuring long trips to Shanghai or South Africa. Those trips haven't taken place in the last twelve months. But we also have a "Time-Shop,» which generated 50 percent more revenue during the same period. Another example: Business was slow at the train station and airport kiosks, but digital subscriptions were booming like never before. I’d rather focus on new things and alternatives than complain about things I can’t change.

«I'd rather focus on new things than complain about things I can't change.»

You’ve been with *Die Zeit* since 1999. Since then, your brand has grown steadily, and the range of products you offer has continued to expand. What is the secret to your success?

I think it starts with our structures—and the publishers. We’re not a publicly traded company, but are owned by the von Holtzbrinck family. Our publishers think in the medium to long term and have always encouraged us to pursue new initiatives. Making mistakes, learning from them… that’s always been part of the culture here. Of course, we need market research and a business plan. But then it’s «Let’s go!» And if a project doesn’t succeed, there’s no blame. We just have to get better or, if necessary, wrap up the project. Furthermore, for a long time now, we’ve had a leadership team in the editorial board and executive management that really enjoys working together and embraces new ideas. That’s also incredibly important.

As a CEO, do you also let your employees get away with mistakes without reprimanding them?

Yes! On the contrary, it makes me suspicious when someone doesn’t try anything new—when someone doesn’t keep developing their business. That’s not good. We have to constantly make sure we’re growing. Because with what we do, we can’t assume it will grow on its own. Take print ads, for example—that’s certainly not a growth product. If you focus on running your business forever with print ads and print subscriptions… well, at some point, things are going to get tight. So we’re constantly looking for ways to improve and grow.

When you started this job two decades ago, were you already convinced that a brand like The time Does it not only tolerate diversification, but actually need it?

That’s inherent in a CEO who thinks like an entrepreneur. When he’s entrusted with a brand, he thinks about how he can develop it further—it’s just part of the job. I used to be the CEO of a regional newspaper for four years; we diversified just as much back then.

«Diversification is inherent in a CEO who thinks like an entrepreneur.»

In 2015, a German trade publication wrote that you had created «a quirky world of goods featuring press products, pendant lights, and wallets» for your community. Have you ever questioned your strategy in light of comments like that?

I don't know off the top of my head whether we're in the Time-We sell wallets in our store. But if we do, they aren’t the same wallets you’ll find at the store down the street. Instead, they have to be special. Of the more than 4,000 items we carry, for example, quite a few are produced in artisanal workshops. Whatever we add to our portfolio always aligns with the brand we cultivate.

What else do you consider part of «brand management»?

Everyone here at the company is aware that we are responsible for a very refined, high-quality brand. And everyone must live up to the standards that come with that responsibility. The culture here reflects our brand. We talk, we discuss, but no one yells around here. It’s a culture that’s very much built on respect and trust—respect for one another, respect for our customers, and respect for our readers.

Given all this diversification, are there any projects you would categorically refuse to take on?

Of course. For example, here in the building we have a Time-Café. It’s a really lovely gathering place, nicely decorated, with great exhibitions and especially good coffee and cake. But we don’t run it ourselves. We provide the space, and talks, readings, and exhibitions take place there. But aside from that, the restaurant business is too far removed from what we do. Or… trips to Mallorca! (laughs) Pack hundreds of people onto a plane and off to «Malle»—it’s great that something like that exists, but it’s not part of our offerings.

You didn't introduce a paywall for online content until relatively late—but you've since become very successful with it. Was that a difficult process?

No, the process wasn’t difficult, but we spent more time thinking about the paywall than others did—and that was a good thing. Now we «lock» articles that are particularly labor-intensive to produce and that we can reasonably expect to be well-received. As a result, we increased subscriptions by 25 percent in the first quarter of the year compared to the previous year. A large part of this is attributable to the clever paywall.

From your perspective as a media manager, which will be more important in the medium term: the advertising market or the readership market?

For all national newspapers, the readership market is already significantly more important than the advertising market. That’s the case for us, too. When I look at our core business, about sixty percent comes from circulation revenue and just under forty percent from advertising revenue.

The time It also has its own staff of editors in Switzerland and covers our country extensively. What role does the Swiss market play for you?

First of all, speaking for myself, I think Switzerland is amazing. I spent a fantastic year studying in Geneva and have been to Zurich so many times. There’s hardly a more beautiful country with more beautiful scenery! The mountain lakes, Lake Zurich—I learned to ski in Zermatt… It’s simply a dream. (laughs) And from a business perspective, it’s a dream come true! We started with the Swiss edition and sold 6,000 copies. We’ve since more than tripled our circulation and are slowly approaching 20,000 copies sold in Switzerland. We also experienced disproportionately strong growth in Switzerland last year. That’s very gratifying.

«We've more than tripled our circulation in Switzerland. That's really exciting.»

Would you say that for a Swiss newspaper like the NZZ Is it easier to get a foothold in Germany—or to work for a German newspaper in Switzerland?

That always depends on how sensitively one engages with readers in the respective country. With Germany serving as a «large canton» in the north, it certainly doesn’t reflect well on a German newspaper if it replicates what Eric Gujer does in Germany—such as constantly and aggressively lambasting the Bundesrat. (laughs) If we acted that way, it would be disastrous for our business in Switzerland. We’d be seen as the «know-it-alls from the North»! On the other hand, it’s easier to find an audience in Germany with a proactive approach: Germany is very diverse. There are many opinions and many political parties. When a bold voice speaks up, it isn’t dismissed as know-it-all behavior; instead, for some, it represents—apparently—an interesting perspective. That’s why the approach taken by the NZZ It makes sense in Germany, but for us here in Switzerland, it would be the wrong approach.

---

Dr. Rainer Esser He has been managing director of Zeit-Verlag since 1999 and, since 2011, has also served as managing director of DvH Medien. A doctor of law and graduate of the German School of Journalism, Esser began his career as editor-in-chief of the trade journals *Business Law Europe*, «Tax Letter Europe,» and «Europäisches Wirtschafts- und Steuerrecht.» He later headed Spotlight-Verlag and the Main-Post media group before joining *Zeit*. Esser is married and has two children.

Die Zeit (as the publisher spells it: DIE ZEIT) is a national German weekly newspaper that was first published on February 21, 1946. It is by far the largest weekly newspaper in Germany, both in terms of circulation (nearly 580,000 copies sold) and reach. Zeit-Verlag, and thus Die Zeit, was acquired by the Georg von Holtzbrinck Publishing Group in 1996 and has been owned 50 percent by DvH Medien GmbH and 50 percent by the Georg von Holtzbrinck Publishing Group since 2009.

 

If a brand names a new product after the location where it’s being promoted, then it was probably the right strategy. That’s how Cupra launched the special edition Formentor Allalin—named after the 3,500-meter-high Mittelallalin at the base of the Allalinhorn, where the brand was spectacularly showcased. The young Spanish automaker and the Saas-Fee vacation region have joined forces—and, in an extraordinary collaboration, are demonstrating just how impressive outdoor advertising can be.

Advertising at High Altitudes

A Cupra model on the terrace of the world’s highest revolving restaurant, which was flown up here by helicopter, three giant posters at the valley station, two branded cable car gondolas, and a Cupra-themed ticket booth ensure that no one can miss the brand here on the mountain. The marketing agency responsible is Feratel Schweiz AG, which aims to demonstrate through this partnership that such displays have a high advertising impact. «In today’s world, where consumers are inundated with media, it’s becoming increasingly difficult to effectively deliver the advertising message to the target audience. This is because consumers, caught up in the stress of everyday life, are pushed to the limits of their capacity to absorb both analog and digital forms of advertising,» explains Moritz Weibel, Head of the Advertising Market Division at Feratel Schweiz AG.

According to the expert, however, advertising in the mountains can reach target audiences in a relaxed setting and without competition from other media. And those audiences are extremely lucrative: Skiers have high purchasing power, are athletic, and active—exactly what a sports car manufacturer needs. And not just in winter—in summer, too, more and more mountain enthusiasts are out and about, especially during the COVID-19 crisis, when vacationers have mostly stayed within their own country. For the companies running these ads, this also meant there were fewer tourists on the move. «On the one hand, industries such as the watch industry, which rely primarily on affluent tourists from abroad, have scaled back their budgets during the pandemic. On the other hand, however, everyone looking to target customers from Switzerland has benefited from the new enthusiasm for mountain tourism,» says Weibel. Here, high up on the mountain, the focus is particularly on image advertising—after all, a branded gondola isn’t replaced as quickly as a billboard at a train station. Contracts often run for a year, but the designs can be adapted depending on the season.

Out-of-home advertising is picking up steam again

Even in the valley and in the city, outdoor advertising can be creative and unique—and is guaranteed to stand out. Studies show that around 90 percent of all people living in Switzerland go out at least once a day—and cover an average of about 37 kilometers each day. On average, people spend about 90 minutes on the go—commuting to work, attending school, shopping, or enjoying leisure activities. At least, that’s the case when there isn’t a coronavirus pandemic. The COVID-19 crisis has also had a noticeable impact on outdoor advertising.

But now that people are spending more time outdoors again, advertising in public spaces is also on the rise. «Out-of-home advertising requires frequency and mobility. Now that these conditions are once again more favorable, outdoor advertising is in demand. We already saw this last year. 2020 was the quintessential out-of-home summer, with very satisfactory revenue,» says Ursulina Stecher, Corporate Communications at Clear Channel. In addition to traditional outdoor advertising, the media company also offers special formats—planted billboards, construction site wraps, and transit advertising. Or take a current campaign by Nespresso, in which billboard spaces have been transformed into storefronts that showcase the products directly and in real time.

Advertising on Buses and Trams

Advertisements on—or inside—buses and trams are hard to miss—not even during the COVID-19 crisis. Although overall demand was lower during the lockdown, full-body tram wraps were actually booked more often during the pandemic than in other years, says Serge Nater, product manager at VBZ TrafficMedia. «Advertising on trams and buses offers a very high reach that can’t be achieved with almost any other medium,» says the expert. «This means a campaign is seen not only by the passengers themselves, but also by passersby on the streets and in the squares of a city. Or, with rear-of-the-bus advertising, even by drivers following behind the vehicle.»

«Click it away»? Can't do that!

After all, this advertising cannot be clicked away or skipped—an advantage that many Swiss people appreciate: Market research by VBZ TrafficMedia shows that 90 percent of consumers either like the ads on and inside trams and buses or do not find them annoying. Depending on the advertising medium, up to 70 percent of respondents recall individual campaigns, according to the marketing agency. Whether it’s hanging boxes from which passersby can take flyers or cards, window banners, illuminated posters, floor stickers, or even ads on buses and trams—on their roofs, sides, and rear—or even on posters attached to rental bikes: This advertising stands out. At least, when advertisers also take the creative design into account. «It’s important that the design takes the medium into account. Images and text must be visible and understandable both up close and from a distance,» says Nater. Ursulina Stecher of Clear Channel agrees that simply transferring existing formats 1:1 to outdoor advertising is probably the biggest mistake brands can make. «Every medium has its own advantages and a unique way of being perceived.».

«You can't click away from or scroll past this ad—a benefit that many Swiss people appreciate.»

Telling Stories on Digital Screens

Advertising on digital screens can also be particularly creative and is anything but «off-the-shelf.» «Digital out-of-home has opened up new possibilities for telling a short story or for deepening and adding an emotional dimension to the message,» says media expert Thomas Rüttimann, partner and co-managing director of ZipMedia GmbH. By using a variety of creative concepts on digital screens, passersby can be literally accompanied by a message. Advertisers in the out-of-home sector can also break new ground by combining different formats: Galaxus demonstrated this impressively last year—across 4,001 posters, 579 eBoards and ePanels, 6,389 hanging boxes, and 245 advertisements, the company showcased customers’ regional shopping behavior. Each of the 11,214 designs was one-of-a-kind for its specific placement. An example that shows outdoor advertising can be not only extraordinary, but also unique.

---

The Abbreviation: OoH stands for «out-of-home» and is synonymous with the term “outdoor advertising.” Out-of-home advertising refers to all advertising media in public spaces, such as large-format posters, superposters, or full-column ads. In addition to these traditional outdoor advertising media, it also includes all types of ambient media and transit advertising.

m&k: Béla Anda, allow me to begin our conversation with a fundamental question: Do you consider effective communication to be more of a craft or more of an art form?

Béla Anda: Effective communication is largely a skill that must be learned. You can do this in a variety of settings: at online services, in newspaper and TV newsrooms, at social media agencies, and also in companies. A solid understanding of several fields—such as journalism, business, and politics—is helpful for gaining experience and thus recognizing what matters most in challenging situations. But it’s true: good, professional communication also has an artistic aspect and requires creativity, inspiration, and empathy.

When did you first realize that you had a knack for communication?

I actually got an A in oral expression in elementary school (laughs), but I couldn't draw that conclusion from that. Maybe—when I was at the World on Sunday I was an intern. The editor-in-chief at the time, Claus Jacobi, was feared when it came to editing texts: He wouldn’t let his editors get away with anything and had very clear, often uncompromising standards …

… and enjoyed nothing short of legendary status in Germany …

Yes, also because he sees himself as Mirror-The editor-in-chief who, during the so-called Spiegel Affair, did not bow to state pressure but went to prison in defense of press freedom. He was, of course, later rehabilitated. He later became a close associate of Axel Springer. In any case: I had to write a story for him about the Salem Castle School on Lake Constance, a boarding school that was having difficulties at the time with its then-landlord, Max von Baden. The article was very important to Jacobi. After I’d turned in my draft, I waited: Jacobi had a habit of dropping edited manuscripts on the floor in our office hallway, right outside the staff members’ doors. That way, everyone could see right away what kind of inferno he’d unleashed in blue ink. (laughs) In my Salem essay, however, there were only four short asides. I was 21 years old, incredibly proud, and realized—at least when it came to writing—Béla, you’ve got what it takes.

Obviously—because at the age of 22, you were already the political editor of the World on Sunday, right?

Yes; I got the job three or four days before my twenty-third birthday. Claus Jacobi wanted to help me advance, so he shortened my internship from 24 to 18 months—and made me the political editor, with my name listed in the masthead. However, my mother kept nagging me back then: «Son, you still have to go to college! You still need to enjoy a few good years!» Even though I had already been working at the World on Sunday The time of my life! (laughs) But I ended up listening to my mother; I went first to the Otto Suhr Institute in Berlin and then to the London School of Economics—and, looking back, that turned out to be for the best.

After that, you returned to journalism; you went to the Image-Newspaper. Later, you became Gerhard Schröder’s government spokesperson, a corporate spokesperson at AWD … and an expert in crisis PR. What is the common thread running through your career?

That’s a good question. In hindsight, everything always seems so well-defined, but not everything could be planned. Perhaps I wouldn’t call it a «common thread,» but rather goals and principles that I’ve had—and still have—at every stage of my career: seeking out challenges, working hard, and trying to make something special out of every task. Today, I’ve added one more thing to that: always keeping the customers’ needs in mind.

Besides, you always seem to have gone exactly where particularly challenging tasks awaited you.

What appeals to me about challenges is their complexity and the creativity required to overcome them. I also appreciate the pressure that comes with them and the teamwork that’s essential to succeed. My previous professional roles—government spokesperson, CCO of an MDAX-listed company, and member of the Image-Editorial Board – help us draw on a wealth of experience. Nevertheless, the same principle applies here: always be ready to learn and try new things.

So, why not just be curious and «give it a try»?

Yes. That's how I ended up moving to Image After I finished my studies … Even as an intern at the World on Sunday, back then in the building across from Image, I've always wondered: What's it really like there? Are all those stories true? Do they drink whiskey all day and throw computers around? (laughs) I wanted to experience that for myself, and when the opportunity arose, I went there. It was a similar situation with Gerhard Schröder: In 1998, many people thought there would be a grand coalition in Germany. And then, suddenly, for the first time since 1949, there were enough votes for a red-green coalition! The offer to become deputy government spokesperson initially came at the same time as an offer for a correspondent position in Washington. But I was more drawn to the opportunity to help shape the narrative of this political upheaval. And in 2002, I became government spokesperson and head of the Federal Press Office. Agenda 2010 and the rejection of the Iraq War had a profound impact on my professional life in the years that followed.

«It has always been important to me to work hard. And to stand for consistency.»

Former Chancellor Schröder is, of course, known far beyond Germany’s borders for being a man who speaks his mind. What’s easier for a spokesperson: working with someone who takes a «firm stance»—or someone who prefers to hold back?

You’re quite right—Gerhard Schröder is known for speaking plainly. At the same time, top politicians like him remain absolute communication pros even in situations where they speak their minds spontaneously. After all, in politics, success comes only to those who can communicate—directly with the people, through the media, and increasingly via their own social media platforms. Anyone who becomes a minister or chancellor has, by that point, conducted and given countless conversations, interviews, and press conferences—far more than the CEO of a DAX-listed company. And that experience has steeled them. By the way: I think it’s great that Gerhard Schröder speaks plainly; that’s what our joint podcast—«Die Agenda»—thrives on. It already has more than 260,000 subscribers. And many appreciate Gerhard Schröder’s clear judgment and his courage to call a spade a spade.

Because of the pandemic, many people have become more interested in what government officials have to say. And in both Switzerland and Germany, there has been some sharp criticism. Have you been following the government’s communication regarding the pandemic?

Yes, I observed this in Germany and even commented on it at times. At first, communication here was very poor. The government hid behind experts and very rarely reached out to the public. Not even with those particularly affected, such as caregivers or those who worked for hours every day at supermarket checkout counters—pandemic or no pandemic. That’s almost been forgotten today due to the relative success of the vaccination campaign. And then there were all the false claims that were made! Wearing masks wasn’t encouraged because, so they said, they spread the virus. In hindsight, no one had the courage to admit that they were on the wrong track and that a lot of information had been communicated incorrectly.

During the pandemic, the information available to those in charge—on which they based their communications—was constantly changing. Is there a kind of «communication gold standard» for comparable situations, such as in companies?

When you’re facing a situation where things are changing rapidly, it’s always a good idea to identify and secure all available information—and, if necessary, have the courage to openly and transparently revise outdated assumptions. You also need trusted contacts within the company’s leadership whom you can truly rely on at any time. And you must understand the internal dynamics of the communicating entities—in this case, the company—and find ways to bring them under control. After all, every crisis must be managed within a specific internal environment.

What do you mean?

In crises, there are always conflicting interests. Take a company, for example: there are those who may bear some of the blame but don’t want this to become public knowledge. There are others who want to publicly assign this blame to a specific group. In addition, there is always a group that believes it is best not to communicate at all. And then there is another group that wants to take a very aggressive approach. And that doesn’t even cover half of the sensitivities involved in these particular situations. This means it is important to understand the internal dynamics from the very beginning and to navigate through them in order to guide the organization through the crisis as effectively as possible. Of course, this is only one aspect of successful crisis communication, but it is always a very central one.

«We take a highly proactive approach. We don't just manage crises—we also shape a new beginning.»

Today, you help companies and individuals who find themselves in crises or legal disputes. Do you see your work as reactive? Or does communication also serve a proactive function?

The answer is essentially implied by the question itself: the latter is the case. We take a highly proactive approach. We don’t just manage crises; we also help shape a fresh start. We do this in close collaboration with the respective team. And if those involved can’t see a way out of the crisis—which happens from time to time—we help them identify new perspectives and solutions.

Communication crises develop more quickly online these days. Has digitalization made your job more difficult?

No. After all, digitalization also offers numerous opportunities, such as the ability to communicate on your own behalf. Whether as an individual or a company, you now have the opportunity to present your perspective directly through your own channels. With all due respect to critical journalists, there are also interviews in which the conversation is very heavily steered toward that one, pointed statement. Where «framing» is increasingly being used, digitalization and social media give you the opportunity to present balanced perspectives.

The way you go about your work seems to be becoming less common—I feel that agencies often only scratch the surface these days. Is that an impression you share?

If that’s the case, then that’s good for us. At ABC Communication, we stand for quality and a high level of professionalism. What I’ve noticed with some PR agencies is that they try to secure high-priced contracts—and then have them handled by poorly trained junior consultants or even interns. Sure, there might be communication geniuses among them. But this approach—charging a high price upfront and having the work done on the cheap—doesn’t work in the long run; I’m absolutely convinced of that. Those who want to afford consulting services might as well hire junior PR managers themselves. That would be considerably cheaper. In some cases, that’s exactly what they do. What does this mean? If you want to convince people, you have to offer quality.

Since we in Switzerland are following German politics with great interest: As a former government spokesperson, would you venture to predict whether Germany will have its first Green chancellor this fall?

In principle, that’s possible. Even though Annalena Baerbock is currently in rough waters. And even though public attention is currently focused on her somewhat controversial remarks. There’s still a long way to go. I do think CDU candidate Armin Laschet is catching up in terms of his public image and his statements—but there could very well be a movement that brings a Green chancellor into office.

---

Béla Anda is considered one of the most experienced communications managers in the German-speaking world. He began his career at *Welt am Sonntag*, where he became political editor at the age of 22; he then moved to the *Bild* newspaper. During the red-green coalition under Gerhard Schröder, he served as government spokesperson and head of the Federal Press Office from 2002 to 2005. From August 2012 to November 2015, he was deputy editor-in-chief of the «Bild» newspaper. Today, Anda runs his own firm, which specializes in crisis and litigation PR.

At «Die Agenda» Podcast» Béla Anda speaks with former German Chancellor Gerhard Schröder on current and past events; his life today, his experiences, and his views. Stepping back from day-to-day politics, Gerhard Schröder offers relevant insights into the important issues of our time.

 

Over the past few months, the rules of the game have changed for many companies and industries: stores and restaurants remained closed, people worked from home, and mobility was restricted. This had a direct impact on the marketing of products and services. Target audiences suddenly disappeared or became harder to reach, consumer habits shifted, and media usage patterns changed. Even after the COVID-19 crisis, some of these pandemic-driven developments are likely to persist. For example, a representative survey by the auditing and consulting firm Deloitte found that many people now enjoy working from home. Office workers in Switzerland would like to work from home either part-time (62 percent) or even full-time (26 percent) after the pandemic.

Offline is becoming more important

The trend toward working from home is having a direct impact on marketing. To reach people as effectively as possible, many companies are adapting their advertising to the so-called “new normal.” A study conducted by Intervista on behalf of Swiss Post shows which channels are best suited for this purpose.

«The trend toward working from home has a direct impact on marketing.»

In this context, the home is defined as a new planning factor. «Working from home has changed everyday life. Old routines are being adapted to this unique situation, and new ones are emerging,» the report states. People have learned to structure their day at home while scheduling in short breaks. For example, by taking a few steps, emptying the mailbox, and then flipping through a magazine or brochure over a cup of coffee. The younger generation is also actively enjoying this screen-free time, which has implications for media usage: offline channels are gaining in importance. Forty-eight percent of respondents say they pay the most attention to personally addressed direct mail. This is followed by attention to television commercials (41 percent) and to advertisements and brochure inserts in newspapers and magazines (40 percent).

In addition, 19 percent of study participants now prefer reading on paper, and 57 percent say they are most likely to be persuaded to make a purchase by personally addressed promotional mailings. For more than half of young consumers (54 percent), mail has become more important during the COVID-19 pandemic; 65 percent of 18- to 29-year-olds also say that packages have become even more important to them.

New Opportunities for Direct Marketing

This creates new opportunities for direct marketing. It is one of the sectors in the advertising market least affected by the crisis. According to Stephan Obwegeser, CDO/CMO at KünzlerBachmann Directmarketing, certain clients significantly expanded their direct marketing activities during lockdowns and while working from home, thereby achieving significantly greater value creation.

«Many people today appreciate reading something on paper more than they did before the pandemic.»

Cenk Erdil, a marketing specialist at Trendcommerce Dialog AG, reports that the company saw a short-term positive trend in the areas of direct marketing and interactive marketing at the start of the COVID-19 pandemic, as it was able to carry out informational mailings for its clients—primarily insurance companies. Following this increase, Trendcommerce observed a stagnation in the direct marketing and interactive marketing sectors. The company assumes that businesses reprioritized their operations and revised their direct marketing and interactive marketing activities during this difficult period. «Since the pandemic situation in Switzerland has improved and a return to normalcy is in sight, orders in the direct marketing and dialog marketing sectors have increased again,» says Erdil.

Even without an opt-in, in the mailbox

During the crisis, direct marketing had clear advantages. Nadine Krienbühl, Head of Marketing at Swiss Direct Marketing, commented: «Direct mail pieces end up in people’s mailboxes even without an opt-in and don’t get lost in the flood of emails.» Attention to personal mail increased during the pandemic, which can be attributed to the fact that people were spending more time at home due to mandatory work-from-home policies and fewer leisure options, and were using their time differently. Stephan Obwegeser shares this assessment: He is convinced that, especially during the COVID-19 crisis, direct marketing is an excellent option for reaching target customers. Reduced mobility has made out-of-home formats and commuter media less attractive, compounded by long screen times while working from home, which has left consumers screen-fatigued. This is where traditional direct mail can shine.

Cenk Erdil cites the high level of availability while working from home as an additional advantage for dialogue marketing. The partial lockdowns and the introduction of reduced working hours also contributed to this trend. «This enabled companies to increase their interaction with customers during the crisis, which also had a positive impact on customer satisfaction,» says Erdil.

---

In demand

«Direct marketing is proving to be relatively resilient in times of crisis»

m&k: Daniel Schönmann, the pandemic has changed consumer behavior. What are the challenges facing marketing in 2021?

Daniel Schönmann: The major challenge lies in recognizing these rapid changes and the opportunities they present, and responding to them quickly. In this regard, I believe it is important for companies to break free from existing, paralyzing patterns and start thinking in new, liberating ways. For example, a recent study by Intervista AG shows that a large proportion of workers who are still working from home have become screen-fatigued. As a result, it is becoming increasingly difficult to reach them digitally. This calls for different kinds of engagement. Companies should take this into account in their marketing efforts.

 

Which forms of marketing are effective during a crisis?

Tailored marketing strategies that are adapted to the current situation and the specific target audience resonate even more strongly during the crisis and are particularly successful. Currently, this is evident, for example, in the fact that direct marketing—specifically, physical communication on paper—is receiving even more attention at home, having a greater impact, and is more likely to lead to a purchase.

 

How have the figures in direct marketing—and specifically in interactive marketing—changed?

Direct marketing has proven to be relatively resilient in times of crisis and an essential communication channel. This is confirmed not only by the aforementioned study by Intervista AG, which surveyed more than 1,000 respondents. The recently published “Swiss Advertising Statistics 2020” by WEMF AG for Advertising Media Research also demonstrates this impressively. This study reports on advertising expenditures: Direct mail accounted for the largest share in the crisis year of 2020—even ahead of print media and TV.

We’ve all been there: You search for a new vacuum cleaner online—and even weeks later, you keep seeing vacuum cleaners in ads on all sorts of websites you visit. So-called third-party cookies are what make these ads follow you (see overview). These are files that advertisers and online advertising service providers store in users’ browsers. Third-party cookies enable companies to create user profiles based on users’ behavior and activities, which in turn allow them to display targeted ads.

But that is now set to come to an end once and for all. Mozilla’s Firefox browser has been blocking such third-party cookies since 2019, and Apple’s Safari followed suit last year. Starting in 2022, Google also plans to eliminate this capability in its own browser, Chrome. These three browsers account for over 80 percent of page views in Switzerland and worldwide. As a result, digital advertising will have to undergo a radical transformation. Media outlets that currently rely heavily on online advertising for funding will have to find new ways to generate revenue.

Data Protection Takes Center Stage

Privacy concerns are behind the browser providers’ actions. From the end users’ perspective, cookies are a sensitive issue. The user data that is collected provides deep insight into users’ private lives. The websites visited, links clicked, and search terms entered make it possible to create detailed profiles of interests, preferences, and demographic data such as age, place of residence, and family status.

Data misuse incidents such as the scandal involving the British company Cambridge Analytica, which used Facebook data from 87 million users for psychological profiling and thereby allegedly influenced political elections and referendums, have increasingly raised users’ awareness of the risks associated with such data collection. Already today, a large proportion of Internet users block digital ads using ad blockers. Politicians, too, are paying increasing attention to the issue and enacting new data protection laws such as the European General Data Protection Regulation (GDPR). It’s no wonder, then, that browser providers are trying to respond to this heightened awareness of data protection by promising to safeguard users’ privacy.

Solutions for Publishers and Advertisers

Advertisers are not happy about the change, as third-party cookies offer them numerous advantages. When they can target their ads to the right people, they avoid wasted reach and, not least, higher costs. No wonder advertisers are uncertain about what the future holds: According to a February 2021 survey by the advertising management platform Adform, 88% of the Swiss marketing professionals surveyed have not yet found a solution for the post-third-party-cookie era.

«The user data that is collected provides deep insight into people's private lives.»

Publishers, too, find themselves in a dilemma. «Users don’t want to be tracked—but they still don’t want to pay for content,» explains Daniel Hünebeck, digital officer at the Swiss Advertisers Association (SWA), at an online event on the topic of third-party cookies. So the money has to come in through advertising—and the more targeted the advertising, the more efficient the business. And publishers have to hold their own against two powerful competitors who profit from the fact that users have to sign up and thereby agree to provide personal data. Google and Facebook share about three-quarters of the online advertising market between them. Although Google has so far used third-party cookies to obtain user information, the company now plans to change that in the future. However, this is not an entirely altruistic move. The maker of Chrome is pushing forward a solution called «Privacy Sandbox,» which aims to combine personalized advertising with privacy. At its core is an advertising technology in which Chrome tracks user behavior but assigns users to a specific group based on their habits. Advertisers would then target their ads at this group rather than at individual users. Facebook isn’t dependent on third-party cookies either. Its «Facebook Pixel» tracker can be set by website operators as a first-party cookie. So anyone who places a Facebook Share or Like button on their website simultaneously enables Facebook to collect user data. Advertisers fear that current developments will make them even more dependent on the “walled gardens” (see overview) of Google and Facebook. By continuing to collect detailed information about their millions of users but refusing to share it, these two companies are effectively forcing advertisers to use their platforms for targeted advertising. But there are other options as well. These include, for example, a potential resurgence of context-based advertising—or the use of first-party data.

A Possible Way Forward: The Digital Alliance

Major Swiss media companies are betting on first-party data. They formed an alliance as early as 2018. The goal is a unified login that allows users to sign in to all news platforms. The media companies CH Media, NZZ, Ringier, TX Group, and SRG are part of the alliance. The technical foundation is OneLog, a single-sign-on software solution developed by Ringier. OneLog is already in use across twelve titles published by Ringier and Ringier Axel Springer Switzerland. As of March 10, 2021, «20 Minuten» has joined as the first pilot project outside of Ringier. With this shared login solution, the media companies aim to enable advertisers to serve their readers relevant ads based on their interests—even without third-party cookies—while simultaneously ensuring user data protection. Anyone who creates a login thereby consents to certain anonymized uses of their data. Similar single-sign-on solutions are also being developed in other countries—or are already more advanced than the Swiss model. In Germany, for example, there is NetID, founded by the media and internet companies ProSieben, Sat.1 Media SE, Mediengruppe RTL Deutschland, and United Internet AG. This cross-industry solution is organized in compliance with data protection regulations and allows the transfer of user data between different services only with the user’s consent. The alliance already has 38 million user accounts—equivalent to about 60 percent of all Internet users in Germany.

---

What does that actually mean …

Cookies are data packets generated by web browsers and websites to store user data.

First-Party Cookies These are generated by the website and store information such as login credentials or the shopping cart on e-commerce sites.

Third-Party Cookies are set by third parties and track users' browsing behavior across different websites.

Single Sign-On is a software solution that allows users to log in just once to access various websites or online services.

Walled Gardens are closed platforms. The operators do not directly share the user data collected within these platforms with advertisers, but they do enable advertisers to run targeted advertising campaigns. Frequently cited examples include Google and Facebook, but publishers such as The New York Times also operate such platforms, which require readers to log in.

---

REQUESTED

«First of all, the Digital Alliance has nothing to do with personalized advertising.»

Patrick Rademacher is the Chief Strategy Officer of the Swiss Digital Alliance for Ringier. (Photo: Courtesy of the publisher)

m&k: Patrick Rademacher, from your perspective, what does the end of third-party cookies mean for the media advertising market?

Patrick Rademacher: The biggest change is that, for a large portion of the inventory, users can no longer be targeted with personalized ads. This results in immense wastage from the advertisers’ perspective and irrelevant ads from the perspective of many users. For the advertising market, this means that the industry must, in part, reinvent itself and seek alternatives.

What does this mean for publishers?

For publishers, this means finding ways to better understand their users so they can, for example, provide them with relevant reading recommendations and tailored product or service offers. From our perspective, first-party data based on user registrations is the key to success. This, of course, must be done with full transparency toward users and in compliance with applicable data protection laws.

On March 10, it was announced that Ringier and 20 Minuten would launch their joint login system. What’s the verdict two months after the launch?

Ringier and Ringier Axel Springer Switzerland’s online media outlets have been using the in-house developed «Ringier-Connect» login system for two and a half years now. Since March, this single sign-on solution has also been in use at 20 Minuten as part of a pilot project. We are very pleased with this go-live. The login has been well received by users. And from a technical standpoint, the launch went exactly as planned and completely smoothly.

What happens next?

Ringier Connect will soon become OneLog, thereby serving as the technological infrastructure of the Swiss Digital Alliance. We will jointly operate and further develop this infrastructure through a joint venture. We are firmly convinced that this will enable us to enhance the competitiveness of Swiss media companies.

Can personalized ads still be displayed using this type of login solution?

First of all, the Swiss Digital Alliance has nothing to do with personalized advertising. The Alliance will operate and further develop the technological infrastructure for the shared single sign-on system. The personalization of content—and, where applicable, advertising—does not take place at the alliance level, but rather—independently of one another—at the level of the individual companies. What is true, however, is that by increasing the number of registered users, each media company improves its own base of first-party data. And this, in turn, provides a foundation for personalizing both journalistic content and advertising.

How do you convince users that signing up is worthwhile?

In mid-October 2019, the Swiss Digital Alliance launched a login campaign that emphasized voluntary participation. The goal of this initial phase was to help users understand not only the personal benefits of logging in, but also that digital journalism offerings from Swiss media companies can only have a future if they are solidly funded—and thus able to compete with the major U.S. platforms. The shared goal of the Alliance partners remains to ensure that our users are logged in, just as they do without a second thought on other digital platforms such as Netflix, Instagram, or Spotify.