Halston had come to compete with the greatest in his field—and to win. There could be no doubt of that when the American fashion designer and his entourage arrived at the Palace of Versailles in 1973; for the media-hyped «battle» with the icons of French fashion—Hubert de Givenchy, Yves Saint Laurent, Emanuel Ungaro, and Pierre Cardin. Halston himself was at the height of his career, tailoring everything from haute couture to glamorous ready-to-wear for American women, and now he wanted to make his mark on the international stage as well. While the «French» relied on classic opulence, Halston sent his girlfriend Liza Minnelli down the runway. Trendy, as-yet-unknown models—a novelty at the time—presented his modern designs. This earned him a standing ovation, victory in the competition—and, it seemed, lasting fame as a natural consequence.

«When Halston died prematurely in 1990, the star of this creative genius had faded.»

Lonely and a failure

But things turned out quite differently: When Halston died prematurely in 1990, the creative genius’s star had faded. His former associates had turned their backs on him, and the fortune he had amassed was nearly depleted. The very brands he had «conquered» at Versailles just seventeen years earlier were thriving. Both the brand and the man faded into obscurity. And that would likely have remained the case were it not for a new Netflix series in which Ewan McGregor portrays the designer. The biopic, marked by excess and eccentricity, quickly became a hit. Understandably so, as the series is not only a brilliant psychological portrait but also a lesson in brand strategy: If a brand that Tommy Hilfiger once described as «the greatest inspiration of his youth» can vanish within a few years—who, then, is truly immune to this fate?

Halston: Characters

But before we list the mistakes that led to the brand’s demise—and try to draw lessons from them—here’s a brief look at the eventful life of Roy Halston Frowick, born in 1932 in rural Iowa. Coming from a humble background and trained as a window dresser, he first gained recognition at the age of 29: Jackie Kennedy wore a hat he had designed to her husband’s inauguration. Shortly thereafter, he launched a women’s fashion collection that was coveted and beloved by stars such as Bianca Jagger, Liza Minnelli, and Elizabeth Taylor.

Couture was joined by everyday fashion: Halston’s style was considered quintessentially American and, much like that of his colleague Calvin Klein later on, featured elegant, minimalist designs made from fine materials that flattered the wearer’s figure. Long, slim dresses or airy silk pantsuits, flowing chiffon scarves, and kaftans made of sheer suede immediately became classics. His female clientele sensed that their comfort mattered to Halston: Before his soirées, he liked to completely rework the entire plan because he wanted to adapt his dresses to the silhouettes of his models—and not the other way around.

The Name – Sold

In 1973, Halston sold his business to the conglomerate Norton Simon for $12 million, but remained with the company as managing director and chief designer. Licenses were granted for the Halston line, which continued to diversify. After a few final major successes—such as the Halston perfume—the decline began: Norton Simon was swallowed up by the conglomerate Esmark; Halston was forced to create a budget fashion line for the retailer J.C. Penney. The «established» fashion world punished him for this with contempt. The designer sank into depression, which he tried to combat with sex, drugs, and parties at the legendary Studio 54. However, he was never able to shake the deep regret over the fact that his own mistakes had brought about the end of his brand—a regret that stayed with him until his death. How could it have come to this?

«He never got over the deep regret that his own mistakes had heralded the end of his brand, right up until his death.»

Creativity Requires a Mindset

Even the grandest visions require a consistent stance. After all, without a stance, there is no brand. Halston, on the other hand, firmly believed that he would be understood intuitively. He viewed his individual creations as fragments of a body of work that spoke for itself through the creator’s genius; that, he believed, should be enough to establish a brand identity. Especially in the fashion world, with its shifting trends and intense competition, only a few manage to anchor themselves in the hearts of the public over the long term. For there is a fine line between the constant need for new creations—and the necessary «common thread» that ties everything together; that brings the brand identity to life. Halston failed to walk this fine line. Hermès, Chanel, and even the popular brand Nike all share the ability to continually inspire their customers while—and this is crucial—remaining true to themselves. They leave it to others to ride the wave of the zeitgeist. Or, in the words of Ralph Lauren: «Fashion is over very quickly. Style is forever.»

«Brand management is an interdisciplinary art; success is always the result of collaboration.»

Brand Extension: When and Where

If you watch the Netflix series about Halston, you might notice a fictional commercial: The designer is shown multiple times against a white background, proclaiming in unison that his products now shape every aspect of people’s daily lives—«Halston for your every day! Halston for your world!». Luggage, home textiles, cosmetics—this is a far cry from the self-image with which Halston once took the fashion world by storm. Brand extension—that is, expanding into new business areas using an existing brand—is one of the most demanding challenges in branding. There are two key questions to keep in mind—when and where.

First, the timing: The younger the brand, the more restraint is called for when expanding. Calvin Klein and Ralph Lauren, Halston’s two American challengers, focused on their core fashion business in their early years. Expansion into new business areas didn’t follow until years later. And Ferrari’s recently announced diversification into restaurants seems conceivable (if at all) only because the premium brand has built a clear image over time.

Second, the “where”: Brand extension must absolutely support the brand’s positioning. The goal must be for the extension to further enhance the brand. This means that the “where” always pursues two equally important objectives: entering a new field and strengthening the brand with new capabilities. The extensive expansion of the Halston brand negligently disregarded the latter. The result: a premature and steady loss of brand identity, until the brand had completely lost its flexibility.

No Performance, No Brand

The debate over what makes brands successful is a long-standing and intense one. Currently, abstract concepts such as «purpose» and the much-cited «why» are shaping the discussion. Yet I am convinced that, in addition to their significant «inner purpose,» brands must above all convince through performance—that is, the «what» and the «how.» Roy Halston Frowick, who elevated America to the fashion Olympus, owed his initial success to his distinctive style. His bias cut—which cuts fabrics at a 45-degree angle rather than along the grain—resulted in uniquely light and natural creations. They reflected the joyful, emancipated self-image that defined urban America in the early 1970s. His «Ultrasuede Shirtdress,» launched in 1972, built on this and secured his success with the general public. And what came next?

«Brands must win people over with their core offerings to be successful in the long term. If they fail to do so, they risk losing their appeal.»

Innovation has dried up. It wasn’t a sudden collapse, but the designs lacked the inspiration and novelty of the early years. Neither the spectacularly staged shows nor the targeted self-promotion could fill this gap. The principle is irrefutable: Brands must win people over through their core offerings to achieve long-term success. Without this expertise, erosion looms. How telling, then, that Halston—both in the series and in real life—was praised by the trade press only one more time: when, free from commercial interests and constraints, he designed ballet costumes for a friend. That’s when he did what he was truly capable of, what he truly loved.

Complexity Calls for Collaboration

The Netflix series chronicles the rise of Roy Halston Frowick as an inspiring figure with great creative ambition. But he does not walk the path to success alone. He gathers a circle of close associates who complement him and each other: Elsa Peretti, who later rose to become a defining figure at Tiffany & Co.; illustrator Joe Eula; and Liza Minnelli, Halston’s muse, are also among the central characters. Yet after the «Battle of Versailles,» the self-centered Halston had broken ties with his companions. Brand leadership, however, is an interdisciplinary art, and success is always the result of collaboration. And that requires the seamless interplay of different skills, perspectives, and personalities.

For those of us who work in branding, the Netflix show about Halston serves as a warning: Only those who are consistent, who expand their brand only after establishing a solid foundation, who deliver results—and who surround themselves with a good team—will succeed. The temptation, however, to follow the designer’s example after a few early successes is great. Or, as Norton Simon’s CEO—who was quite fond of Halston—said during a lunch together: «Genius isn’t enough. Anyone who thinks they’re a genius stops growing.»

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Truth and Fiction: A Brief Disclaimer: Of course, what happened in the Netflix show isn’t always exactly the same as what actually happened in Halston’s private life. While the designer’s biographers and surviving business partners approve of the screenwriters’ approach, Halston’s surviving family members—particularly his niece—were not consulted. The reasons for the decline of the Halston brand, however, are well-documented and were covered extensively by various media outlets at the time.

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* Alexander Haldemann is CEO of Publicis Groupe, Switzerland’s largest communications group. He holds a doctorate in economics and has been active in the creative industry for over 20 years, having lived in Asia, Europe, and North America. In 2016, he sold the branding agency MetaDesign, which he owned and managed, to the Publicis Group. Since 2020, he has served as global chairman of MetaDesign and as CEO of Publicis Groupe in Zurich.

m&k: Ms. Hackenbruch, you spoke at Screenforce Day 2021 on the topic «Media Research of the Future: Switzerland One Step Ahead.» Could you share with us the «key takeaways» from your presentation?

Dr. Tanja Hackenbruch: At Mediapulse, we have long been pursuing the vision of convergent media research that extends all the way to cross-media analysis. We began by focusing on convergence within the TV medium through our Online TV Measurement (OTV) project. Our goal has always been to apply TV research and its standards to all forms of moving-image consumption. We are now in the phase of developing a measurement system that encompasses both TV and online media. Thanks to our research design, additional media and advertising formats can be integrated in the future. Our goal at every stage is always to enable an integrated and cross-media linkage of campaigns. In this context, convergent campaign research will mean, going forward, the integration of media offering and campaign measurement—both across different media silos and across integrated and decoupled advertising ecosystems.

 

How far along are you in this process?

As early as 2022, combined TV and online content measurement could be offered, if desired. The launch of campaign measurement for Swiss online inventory is planned for late 2022. And starting in 2023, cross-platform analysis between TV and online should also be possible here.

 

No one knows the Swiss population’s TV viewing habits as well as Mediapulse. Have these habits changed over the past year—and if so, to what extent?

Of course, society is changing, and people are changing too. Still, it’s always interesting to see that TV viewing habits remain very stable. Most households still have a «big screen» in their living room, enjoy taking time in the evening to watch TV, and make heavy use of TV broadcasters’ programming. Particularly noticeable last year during the lockdowns was a general increase in TV viewership and a rise in reach of up to four percent. The biggest change overall is the increasing trend toward time-shifted TV viewing and the use of streaming services like Netflix or Amazon, as well as video platforms like YouTube. However, our figures clearly show that, in terms of reach and intensity of use, these services still lag significantly behind
in front of the TV.

«It's always interesting to see that TV viewing habits remain very stable.»

A few years ago, Screenforce Day featured a discussion about the «second screen» phenomenon—that is, the fact that more and more people are using their cell phones, tablets, or laptops while watching TV. Is this trend continuing?

The trend continues, but according to IGEM DigiMONITOR, no significant growth has been observed over the past five years. From our perspective, it is interesting that our research will, for the first time, enable us to quantify this usage. This allows us to track the simultaneous viewing of a TV program on a TV set and the use of a website or video player on a mobile device such as a tablet, cell phone, or computer.

 

Screenforce uses the slogan «The Magic of TV.» In your opinion, what makes up this «magic»?

Aside from media use as a subject of research, I’m naturally also fascinated by and interested in television as a consumer. And I’m not alone in this, as our figures show. Furthermore, in my view, TV is still one of the most powerful media when it comes to advertising. This is for the simple reason that it can engage multiple senses through moving images, sound, and music.

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The media research specialist Dr. Tanja Hackenbruch is CEO of Mediapulse and a member of the board of directors at Net-Metrix. Previously, she served, among other roles, as head of market and audience research at SRG SSR and held various management positions at GfK.

There’s no denying it: Digital communication is becoming even more important—even in sales, where communication is often very direct and personal. Video calls, in particular, are experiencing a real boom. Consultations and customer support via video call are efficient and socially acceptable. Video conference meetings and digital workshops will also become part of everyday life in the future. The right equipment and training are a must—nothing is more embarrassing than a poor-quality microphone and being told, «You’re still on mute.» Video calls are particularly useful when they help avoid long commutes, bring in experts, and gather information—those who implement this approach are seen as efficient and up-to-date. In external corporate communications as well, media conferences via video call, product launches, and presentations of innovations to journalists, connecting international teams for investor meetings, and virtual tours are becoming standard—all of which make perfect sense.

Which instrument is best for what?

But how can a company determine which of these many new forms of communication are appropriate and which are unnecessary or even superfluous? We like to use questions to decide which tools are best suited: Which form of communication makes it easiest to present the facts that need to be conveyed? Which tool is most convenient for all participants and thus enables the most accessible participation possible? What role do the emotional component and the experience play in communication? The result is an evaluation borrowed from a fundamental principle of architecture. FFF – Form Follows Function. FFF was first mentioned by the American sculptor Horatio Greenough in 1852. Nevertheless, FFF is most often associated with the architect Louis Sullivan, who wrote in 1896 that «form always follows function.» This guiding principle is now over 150 years old, yet it has lost none of its relevance in today’s world of digital media.

»You're spoiled for choice."

This guiding principle applies very well to the topic of communication and the choice of communication tools in sales. However, there is a second principle that simply helps separate the wheat from the chaff: the idea that, ultimately, the bait on the hook must appeal to the fish, not the fisherman: What this means is that a communication tool should always be tailored to the target audience and not to the needs of the people who want to send the message. The focus, therefore, is on the customer—the recipient. The more direct communication was in the past, the more sales today must rely on dialogue—even if it’s virtual.

New opportunities are emerging as a result of the widespread availability of communication tools. A major opportunity for international companies arises from the fact that, at almost any given moment, the entire world can be connected in a virtual meeting as if everyone were in the same office. After all, under COVID-19 conditions, it doesn’t matter whether you’re sitting in the office next door or on the other side of the world. The only difference is the time zone.

Take Advantage of Greater Flexibility

Another opportunity arises from the ability to bypass hierarchies. For example, it’s entirely possible that, in the middle of a board meeting, an expert who is currently working on a project and is on the road somewhere will be brought in via video link. He can then report on the situation «effortlessly,» so to speak. This live reporting feature can, of course, also be used for press conferences or investor meetings. If the question arises as to what’s going on at this or that location, or if there’s a need to take a look inside an innovation lab, this can easily be done virtually.

Try something new every once in a while

As part of acquisition projects, sites are already being inspected remotely via drone flights. There are also ongoing innovations in the field of social media. One that has been making headlines recently is the «Clubhouse» app. However, it is not yet clear whether this app will truly catch on in corporate communications. Numerous companies are experimenting with it. Nevertheless, this new form of social media warrants close observation.

Don't forget the customer

When it comes to digital communication, many companies think primarily of internal processes. But our customers and their behavior are also changing rapidly during lockdowns. This applies to their availability, flexibility, and willingness to engage in dialogue. It makes sense to make targeted use of these new ways of communicating. Aligning sales with these new opportunities requires innovation and courage, but these digital possibilities will endure even after the pandemic.

It's the impact that counts

In the end, one thing is clear: The COVID-19 pandemic gives us all the opportunity to experiment with these forms of communication—both within the company and with the outside world—and to break new ground. Ultimately, what works in the long run is what’s right!

 

This article was first published in the print edition of m&k friends 5/2021 by Swiss Distribution.

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* Dominique Reber (left) and Dr. Matthias D. Knill are partners at Hirzel.Neef. Schmid.Konsulenten, a communications and business consulting firm based in Zurich.

Communication will remain a core discipline of business management in the future as well. However, the demands placed on communication tasks are increasing: «Technological leaps and new forms of communication must be recognized, and opportunities must be seized,» say Professors Marcus Schögel and Sven Reinecke of the Institute for Marketing and Customer Insight (IMC) at the University of St. Gallen (HSG). Work methods are becoming more collaborative and agile, and the diversity of stakeholder interests is creating areas of tension that affect the content, formats, methods, and processes of communication. «Managing complexity, leveraging innovations flexibly, initiating communication processes in a targeted manner, and being a relevant voice on social issues are some of the requirements that will remain crucial in the future,» explain Schögel and Reinecke.

«We must recognize technological breakthroughs and new forms of communication and take advantage of the opportunities they present.»

The Institute for Marketing and Customer Insight offers a variety of continuing education programs in different formats focused on communication and marketing management. In addition, communication and marketing executives have the opportunity to attend the Digital Marketing Academy to lay the conceptual foundations for integrated communication using innovative technologies within their own companies.

Ulrike Mothes, co-director of the Institute for Multimedia Production (IMP) at the University of Applied Sciences of Graubünden (FHGR), also emphasizes the key role that future communicators will play in times of technological and social change. In addition to a digital mindset, she says, this requires above all the ability to communicate mindfully and respectfully, while placing people at the center of all decisions. Skills in XR are also in demand: «Augmented, mixed, and virtual reality—which, for simplicity’s sake, are now collectively referred to as extended reality or XR—were dismissed as mere hype just a few years ago,» says Mothes. But then players like Google, Apple, Facebook, Samsung, and Amazon began pouring enormous sums into the further development of immersive technologies. As a result, increasingly better devices are coming onto the market, and their real-world utility is growing in all areas of personal and professional life. «XR technologies have made the leap into practical application and have found their way into businesses,» says Mothes. But so far, there are still very few trained specialists. For this reason, the FHGR is offering the new CAS in Augmented and Virtual Reality this fall.

More Moderation

Experts at the Institute for Marketing Management (IMM) at ZHAW (Zurich University of Applied Sciences) emphasize the need for a strategic mindset combined with journalistic craftsmanship: «Communicators will continue to be responsible for conveying the organization’s messages to its target audiences through effective storytelling, using the right communication channels. They must therefore be able to produce content in various formats and adapt it to suit different media.» Increasingly, however, they will also take on a moderating role and be available for internal and external community platforms. This requires strong networking skills, as well as a technological understanding of new tools and channels and the analytics behind them. «In the future, a greater affinity for data will be needed to measure the effectiveness of campaigns and thus make better, data-driven decisions,» according to the ZHAW. Su Franke, Director of the Center for Marketing at HWZ, and Prof. Michael Grund, Head of the Department of Marketing & Business Communications at HWZ (Zurich University of Applied Sciences), emphasize the importance of lifelong professional development as well as orientation skills in the areas of corporate leadership, management, technology, and big data. HWZ’s communication and marketing continuing education programs focus on the perspective of users and customers: «It’s always about a person’s holistic experience with a company—which can be good or bad. To ensure it’s good, companies must not dictate what people have to do, using which technology or on which channel,» explain the communication experts. One person might want to search on their smartphone and buy in-store. Someone else might prefer the reverse, and both approaches must lead to an excellent customer experience. In this context, the HWZ offers a wide range of courses—for example, in the areas of multichannel excellence, customer experience, and marketing communications.

Speed and Flexibility

«The past few months have shown that communicators must be able to respond quickly to changing conditions. And not just externally, but also in internal communication,» says Prof. Ursula Stalder, director of continuing education at the Institute for Communication and Marketing at the Lucerne University of Applied Sciences and Arts (HSLU). In this context, she notes that proficiency with digital communication and collaboration tools has become even more important. Communication is increasingly taking on the role of enabling employees and managers to carry out their communication tasks. Stalder also emphasizes the growing importance of the ability to engage in dialogue with customers and build emotional connections with them through communities and relevant content. «Listening is experiencing a real boom with voice assistants, as well as the rise of podcasts and Clubhouse, and the skillful use of these tools will be crucial for communicators,» says Stalder.

«We need to answer the question: How does our communication contribute to the company's success?»

According to Prof. Christian Weber, director of the Institute for Competitiveness and Communication (ICC) at the School of Business at the University of Applied Sciences and Arts Northwestern Switzerland (FHNW), future communicators must be able to utilize the full range of communication tools and, at the very least, understand the significance of new (digital) channels. «The classic »copy-paste’ approach from one platform to another usually doesn’t work because the underlying philosophy of the platforms is often completely different,” explains Weber. Furthermore, communicators are increasingly required to demonstrate the value they contribute to achieving organizational goals. This goes far beyond measuring individual measures. The question that needs to be answered is: How does our communication contribute to the company’s success?

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Learning

1. IMC at HSG

Digital Masterclass on Customer Experience Management (starting in May 2021) Digital Marketing Academy (starting June 29, 2021)

2. IMP at FHGR

CAS in Augmented and Virtual Reality (starting in fall 2021)

3. IMM at ZHAW

Marketing Automation & Artificial Intelligence (starting in 2022) Digital Reputation Management (starting in 2022)

4. DMBC at HWZ

ACAS Business Creation & Marketing Strategy (starting in September 2021)

5th IKM at HSLU

Course on Voice User Interfaces in a Hybrid Setting (since 2020) Courses in Content Planning and Management (planned) CAS in Customer Psychology (revised and renamed)

6. FHNW ICC

Through lets-get-digital.ch, participants can tailor their continuing education to their needs. New content in the areas of digital healthcare and digital branding (planned).

An unassuming building on a Zurich alley, just a few steps off Bahnhofstrasse. What was once a high school is still a place of teaching and learning today—though, of course, by different people and under different circumstances. For several years now, this has been the home of Fjord Studio, a think tank that «harnesses the power of design to create services that people love.» That’s how it’s described—in a way that’s both evocative and somewhat vague—on the company’s website.

Hartmut Heinrich, Principal and Group Director of Fjord’s Swiss office, welcomes us on our site visit. He heads one of a total of twenty-seven offices that Fjord has established across a global network stretching from Barcelona to Bogotá, and from Melbourne to Mexico City. Heinrich’s background seems to fit his employer’s approach perfectly: a successful serial entrepreneur and a lecturer at the University of Bedfordshire for several years; eventually, he combined these experiences to advise clients who want to make a change, need to make a change—or both. And for that, they need experts with very different profiles and very different areas of expertise, all under the umbrella of a central organization.

Technology for Elegant Simplicity

The first question: What do employees at a think tank actually do all day long? Hartmut Heinrich’s answer comes promptly: «We think about how the latest technologies can be used to develop digital products and services that surprise. And, ideally, even inspire enthusiasm.» Artificial intelligence, voice assistants, virtual and augmented reality are just a few of the topics currently high on the agenda; the guiding principle is always to achieve «elegant simplicity» in the customer experience.

Heinrich explains that clients usually come to him and his team with one of two typical challenges: Either the business is no longer performing well and a «fire brigade» is needed to immediately realign the client’s offerings and structures—or the client wants to proactively prevent such a situation by expanding its offerings while there is still no existential pressure.

Sometimes this requires groundwork—which Fjord offers as part of its services. As the Group Director notes: «Many companies simply lack a culture of innovation. They have neither the processes nor the experience to drive sustainable change on their own.» Incidentally, Heinrich says with a smile, this is particularly true of clients who have long enjoyed success with the same offering and have never felt the need to try something new.

Basic Principles for the «New Era»

Their focus on change has turned the «Fjordians»—as the employees call themselves—into cartographers of trend landscapes. Every year, they document the fundamental changes the world can expect—even in times of a pandemic. Some particularly striking points from their latest trend report include:

1. Collective Displacement: «Home» Becomes «Office»

Over the past year, we have experienced a collective shift in our way of life. How (and where) we live and work has changed.

We’re working from home instead of at the office, shopping online instead of at our favorite stores, streaming yoga classes instead of going to the local gym, and keeping an eye on our children, who are being taught online instead of in the classroom. The global pandemic has changed how and where we work, learn, shop, and play—and sometimes even where we live. Companies must adapt to these changes if they want to continue reaching their customers.

2. Do-it-yourself Innovation: Makeshift Solutions Open the Door to Creativity and Entrepreneurship

So-called "life hacks" are part of pop culture. The year 2020 further amplified this trend: Suddenly, creative makeshift solutions were popping up everywhere.

We’ve redesigned our homes, repurposed household items, and adapted to the new situation in this way. Entrepreneurship is also on the rise, as many people are using the makeshift solutions they developed during the pandemic to lay the foundation for their own businesses. Take the cyclist who set up a pop-up shop in his backyard to tune bikes. Or the former press spokesperson for a gym who launched her own platform for online workouts. Many platforms are being repurposed to solve pressing problems. Since live shows weren’t possible, the creators of the game Fortnite and rapper Travis Scott collaborated on an in-game performance in front of an audience of more than 12 million viewers. Platforms are rapidly evolving into places where people can monetize their creativity.

3. This is what makes a great team: Employees and employers are the prototypes for «Work 2.0»

For years, technology has been changing our relationship to work, working hours, and where we work. This shift accelerated even further in 2020: Employers today are being forced to rethink employees’ rights and responsibilities, as well as their day-to-day experiences.

In the past, we could count on our employers to cover the costs of most of what we needed (desk, computer, ergonomic office chair). Many remote workers now bear these costs themselves. What’s more, while employees continue to be paid, they lose out on added value—such as social interaction, knowledge transfer, and the development of soft and hard skills—due to the lack of physical presence. Unsurprisingly, the number of users of services that facilitate remote work has skyrocketed. While the office as a workplace isn’t going away, various companies are now considering other options. We can assume that the future will not offer one-size-fits-all solutions—rather, it is very likely that each company will have its own individual policies. In a global survey, three-quarters of employees stated that they would like to see a mix of in-person and remote work as the new norm.

The other Fjord trends also highlight, from a practical or design perspective, the transformation taking place in our world: The «Interaction Wanderlust» trend, for example, calls for making screen experiences more enjoyable to prevent digital fatigue; the «Liquid Infrastructure» trend emphasizes the importance of focusing on new product distribution channels.

Barriers to Implementation

Let’s return once more to Hartmut Heinrich: Defining trends, identifying potential innovations—all of that seems right and important. But if the aforementioned foundations of an innovation culture are lacking, where exactly do he and his colleagues even begin? «Unfortunately, we still often see too little willingness among C-level executives today to venture off the beaten path,» says the head of Fjord Zurich. That’s why it’s all the more important to get employees from all levels of the organization on board with change processes: «I remember a project at a government-affiliated organization where, after a few workshops, the employees even called us on the weekend because they wanted to discuss their ideas. That’s practically an ideal scenario.»

Everything Flows

After all, in such a rapidly changing market environment—not only because of, but also catalyzed by, the pandemic—a company’s success in the future will be primarily a matter of culture and the willingness to remain constantly agile and adaptable. «Incidentally, this applies especially to Chief Marketing Officers,» Heinrich notes: «For a long time, they’ve enjoyed competing over who has the most advertising budget to run campaigns and hammer their image into people’s heads,» he says with a laugh. But this kind of static brand management is a thing of the past: «Today, I have to manage a brand or a product based on an authentic service mindset and constantly align it with what people want. Customers aren’t falling for anything else anymore.»

In the wake of the COVID-19 pandemic, many companies are once again paying closer attention to their spending—including in marketing: advertising budgets are being cut back, or more attention is being paid to the effectiveness of individual channels. To provide companies with the best possible support in allocating their advertising budgets, the market research institute Intervista has, in the A study commissioned by Swiss Post in February 2021 conducted. In a representative online survey, more than 1,000 German-speaking Swiss were asked how their needs and consumer behavior have changed as a result of the coronavirus—and, in particular, how they perceive advertising.

Fundamental Change in Consumer Behavior

Unsurprisingly, fundamental changes have taken place since March 2020. For example, 52 percent of respondents say they have significantly changed their consumption habits. Eighteen percent are looking for bargains more often, 20 percent are paying closer attention to quality, and 30 percent are buying more Swiss products. Forty-four percent of respondents also expect their consumption habits to change (further)—so this could be a lasting change.

Mailbox instead of screen

Working from home—which affects 53 percent of respondents—can, among other things, trigger other interesting effects. For example, more than half of 18- to 29-year-olds report feeling screen fatigue more often, while among 60- to 79-year-olds, it’s one in five. In response, 42 percent of younger people actively make sure they can enjoy screen-free time. One in three people in the older age groups does the same. One consequence of this screen fatigue: 19 percent now value reading on paper more than they did before the pandemic. In general, the physical is gaining importance—and with it, the mailbox. For 54 percent of younger people, mail has become more important during the pandemic, although packages were naturally the main focus. However, the increased importance of the mailbox also has implications for the effectiveness of advertising channels.

Most noticed: addressed direct mail items

Only 18 and 19 percent of respondents, respectively, pay attention to ads on websites or search engines. Social media also ranks only in the middle of the pack, at 26 percent. TV advertising is far ahead at 40 percent—another traditional medium that is primarily consumed at home. However, another well-known channel attracts the most attention: direct mail. Forty-eight percent of respondents say they pay attention to it. And when asked which form of advertising is most likely to inspire them to make a purchase, direct mail is also the most frequently cited, at 57 percent. «The current situation, in which the home plays a much greater role in people’s lives, opens up new opportunities to reach customers directly,» explains Oliver Egger, Managing Director of Media and Advertising at Swiss Post. «However, changes in consumer behavior and media usage require a shift in thinking when it comes to media planning,» says Egger.

«Significantly more points of contact»

Marianne Binggeli, project manager at intervista AG, sees further advantages to personalized mailings: «People pick up a personally addressed piece of advertising mail—for example, when they take it from the mailbox into their home. This results in significantly more active touchpoints than, for example, advertising via email newsletters, which disappears with a single click or swipe. Furthermore, with newsletters, you often only see the headline. With personally addressed direct mail, on the other hand, entire offers, images, and additional details are usually visible. That generates attention.»

m&k: Bascha Mika, you were an editor-in-chief for decades—first at the Taz in Berlin, then six years at the Frankfurter Rundschau. So you had to step down from your position a year ago—why?

Bascha Mika: Well, I've slipped into retirement age. (laughs)

 

What will you miss?

I love working with the editorial team. I enjoy driving things forward, developing visions, and bringing them to life. I’m also a true team player—I love working with people. I’m not interested in hierarchies or silo battles.

 

What will this new phase of life be like?

My partner and I don't have to commute anymore. Frankfurt to Berlin—that's quite a distance. And I'm a writer again. I'm still working for the *Rundschau*. I write editorials, conduct interviews, and pick the topics that interest me.

 

What are your favorite topics?

I'm a generalist, which means I write about all kinds of topics. That's what I've always done. Of course, I've always focused somewhat on so-called "women's issues." But basically, I write about everything—from politics to social issues, and, of course, for the arts and culture section.

 

Speaking of women's issues: Let's go back to 1997. Back then, you were at the Taz. Before you were promoted to executive management, you took a year off to write the book about Alice Schwarzer. How did this book come about?

I met Alice Schwarzer in 1995 because I had won the «Emma» Journalism Award. I found this woman so interesting, lively, and exuberant that by the end of the day I had already decided to write a profile about her, even though we had completely disagreed politically on that first day.

«Women need a career to be economically independent.»

 

Argued—about what, exactly?

Alice Schwarzer was apparently used to the fact that, no matter what political views she expressed, she was rarely—if ever—contradicted. And she was completely surprised when that wasn’t the case with me, because I disagreed with her entirely. Then she got really loud, and so did I. Still, I felt that we got along well. But she wouldn’t give me an interview, which I would, of course, have needed as the basis for my profile. So I started doing research among her circle of acquaintances. That’s when some terrible things came to light.

 

What kind of things?

Alice Schwarzer literally mistreated women—both those on the editorial staff and freelance writers. Many women were afraid to talk to me about Alice because they said her influence extended far and wide. If they spoke out here now, Alice would go to the editor-in-chief and put pressure on them. I just couldn’t believe it. So I wrote this profile, capturing all the ambivalence I felt toward this woman and what I’d uncovered through my research into her circle. We published it in the Taz published.

 

So what happened next?

The portrait sparked a firestorm. I had simply been doing my job as a journalist. For that, I was accused of betraying my own cause. How dare I tarnish the reputation of such a heroine of the women’s movement? All the commotion surrounding this portrait eventually led Rowohlt Verlag to ask me if I’d like to write a book about Alice Schwarzer.

 

What was the response to the book?

That was a real scandal. That someone dared to write an unauthorized biography about the icon of the women’s movement—as a woman and as a feminist. Because we mustn’t forget—back then, Alice Schwarzer had long been the media’s darling. She was a regular on game shows; on talk shows, she went along with every bit of nonsense. And that’s why, of course, the outrage was immense.

«Only when we stop playing along will anything change.»

 

Did you see each other again?

We've seen each other from time to time at official events. She consistently avoids me.

 

You left the editorial board in 2009. Why?

It was about time. After I left, I wrote two more books. I also stepped up my work at the university as the program director and an adjunct professor.

Let's talk about your second book, *The Cowardice of Women*. That one also sparked a storm of criticism. They accuse the women of not fighting hard enough for their own life's dream.

My thesis is that a great many women stray from their life plans because they are afraid. That’s why I chose this title: *The Cowardice of Women*. Out of fear of losing their partner. Out of fear of losing the love of those around them.

 

What did the critics say?

Many of those who took part in the backlash didn’t read the post carefully. Because I believe that in many ways, women are much braver than men. Just not when it comes to their own life plans and to making them a reality—in the face of opposition and the fear of losing love. I was accused of not paying enough attention to the structures that hold women back.

 

So, have you been paying too little attention to them?

I made it very clear at the beginning of the book: Of course, these structures are a plague. Of course, these structures hold us women back in many ways. We don’t lack awareness here; what we lack is action. But what’s also missing is actively addressing women’s participation in this issue. Another accusation I found completely absurd: that I want to force all women into careers. I never wrote that. I’ve always said that women need a career to be economically independent. Because economic dependence is one of the factors that traps them. It’s also about the fact that, in addition to economic independence, a career offers many additional benefits for women. Because they’re out in the world, because they have social connections, and because, if they do their job well, they also boost their self-confidence. All of this is something a woman simply doesn’t have if she works only at home, no matter how much work she puts into the house and the children. That is my argument in favor of a career—not because women have to pursue a career.

 

What else were you accused of?

The most absurd accusation leveled against me was that I’m not a mother and therefore have no right to write about mothers. And I certainly wasn’t allowed to pass judgment on mothers. Because in the book, I coined the term «latte macchiato moms.» And I really made fun of women—in a mean and ironic way—who had big plans for their lives and suddenly found themselves reduced to just a home and a child. But then, when their partner leaves, they say they had no other choice—yet along the way, they lose their professional qualifications, their autonomy, and their independence. And whether they’re with a partner or not, when they do eventually return to their careers, they often end up with only a part-time job. Even if they want to advance professionally, they’re often not given the opportunity.

«Many women feel invisible once they're over 40, but that's when things really get going.»

 

This is also reflected in retirement planning.

Exactly, that has implications for countless areas. Jutta Allmendinger, the sociologist I interviewed in connection with the book, said this beautiful line: «Women must learn to think about their lives in reverse.» And that’s exactly the key point. It’s not about planning your entire life from start to finish. But it is about standing up for what you expect from life.

Then came *Mutprobe*, your third book. Its subtitle is «The Hellish Game of Growing Older.» Is there a lot of Bascha Mika in it?

I myself have actually never had any trouble getting older. As a rule—unless I was going through a crisis in my life—I’ve always felt most comfortable in whatever situation I happened to be in at the time. And at whatever age I happened to be. But I’m a journalist, so I ask around and hear about other women’s experiences. When it comes to the issue of aging—or «doing aging,» which is, so to speak, the equivalent of «doing gender»—the following point particularly intrigued me: “Doing aging” has been a major topic in academia since the 1990s. Yet in public discourse, nobody talks about it.

 

What exactly does «Doing Aging» mean?

The fact that women are made to look older than their biological age—that’s simply not a topic of discussion. And I had hoped that with this book, I could bring this scientific debate into an everyday context and make it part of our everyday understanding. I don’t feel like I’ve succeeded in doing that.

 

How do you determine that?

From the reactions. I still don’t come across the term «Doing Aging» in the general debate. Not even in feminist discourse. Perhaps it’s also because many feminist debates—which have certainly been reignited over the past fifteen years—are driven largely by young women, who naturally don’t necessarily have a sense of what «Doing Aging» entails. But I can’t say for sure if that’s actually the reason. It’s certainly also because, much like with “The Cowardice of Women,” it’s not easy for women to grapple with this issue either. Because of the societal discrimination against women as they grow older—I’m not talking about old women here; gerontology is an entirely different matter. But my focus is on the process of aging, and as we all know, for women that begins by age 30 at the latest. Well, not really, of course, but we’re led to believe by external pressures that we urgently need to do something about ourselves so we still have a chance on the market.

 

Are experience and wisdom recognized in society?

Not for women. For men, of course. Men are still elected to supervisory boards even in their 70s. For women, the career ladder is virtually over once they turn 50. At age 60, I joined the editorial board of the Frankfurter Rundschau ...have been appointed. That is an absolute exception. Aging, for both genders, deserves more respect and dignity.

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Bascha Mika She was born in 1954 in a Silesian village in Poland and moved to West Germany as a child. After completing a banking apprenticeship, she studied German language and literature, philosophy, and ethnology. She served as editor-in-chief of the *taz* and the *Frankfurter Rundschau*. She lives in Potsdam with her partner and works as a freelance journalist.

1. Art & Communication: Do companies benefit from creative campaigns?

Swiss curator Harald Szeemann said: «Art is always ahead of the Zeitgeist.» Technology and nature are changing exponentially faster than we can comprehend. Today, it is more important than ever that we reconnect with nature. Art helps us understand the complexity of the world on an imaginative and emotional level. The role of art is also changing: in addition to traditional introspection, contemporary art practice is increasingly focused on participatory and interdisciplinary work. Some artists collaborate with scientists and engineers on the practical implementation of scientific inventions. For example, we work with artists when it comes to translating and visualizing major societal trends for a broad audience.

2. Is there any escape from "Swissness"?

The prevalence of “Swissness” in advertising is a warning sign of the decline in our ability to innovate in a Switzerland that has become complacent due to its success. For the past 15 years, “Swissness” seems to have been the ticket for marketing executives to win the board’s favor. “Swissness” in advertising—that is, the celebration of quirky but harmless local quirks, as well as the promotion of values like solidarity, modesty, and a commitment to quality—has vague marketing goals: evoking shared values and shared experiences, and feigning customer closeness in the style of *Heidi*. More and more people tune out when a company once again tries to stroke our national soul: Erstfeld–Biasca, so to speak. Others, however, expose “Swissness” as a sales gimmick. For instance, when a major retailer, a communications service provider, or an insurance company tries to whitewash its decline in creativity, value for money, and genuine customer contact with a love of the homeland. Compulsory solidarity makes sense in the context of cantonal financial equalization. Not so much when it comes to the weekly grocery shopping. The self-satisfaction of the “corporate super-Swiss,” presented with pseudo-modesty, not only makes it harder for us to distinguish between brands—it directly harms Switzerland. This complacency masks the fact that we are squandering Switzerland’s greatest and most exciting asset: our capacity for innovation. Empowered consumers have very different needs, fears, and hopes. They deserve brands that offer more than just folklore in exchange for their attention.

3. Is “slice-of-life” a bullshit category?

Never. “Slice-of-Life” has found a new purpose thanks to the Kardashians. They show that nothing is more exciting than real life. Illnesses, weddings and divorces, armed robberies, children, careers, houses, and luxury cars: it’s all there. It’s camp and trashy, funny and sad all at once, and can shift in surprising ways from low to high and from high to low. The Kardashians have our respect. And they know a thing or two about smart merchandising. Take Skims, for example—Kim Kardashian’s truly excellent lingerie line. It’s photographed exclusively by the Italian artist Vanessa Beecroft. Beecroft became famous in the ’90s for her performance in the lobby of the Guggenheim Museum in New York. Models wore bikinis and high heels by Tom Ford for Gucci and simply stood there. An army of women. Today, Beecroft lives in Hollywood and serves as Kim’s art director and personal photographer. “Slice of Life” remains a winning category.

4. The Curatorial Turn: What does the term mean?

How do you strategically align brands in an age of constant confusion? One solution is «Human Identities Instead of Brand Identities.» Incidentally, this is also a strategy employed by Creative Director Demna Gvasalia, who uses this phrase to describe the Instagram activity of his brand, Balenciaga. A group of Balenciaga fans styles the products exactly as they please. The brand strategy is, in a sense, to have no strategy at all, but rather to let the consumers speak for themselves. The images are sometimes endearing, sometimes annoying, sometimes silly—just like a real personality. The other approach is called the “Curatorial Turn” and suggests that curators are playing an increasingly central role in brand management. We predict that the next creative director of a major company will be a woman.

5. Purpose: Are Advertisers Seeking Meaning?

More and more of our clients’ briefings revolve around “purpose”—the deeper meaning behind business creation and production. Creating meaning has indeed become one of Neutral’s most pressing—and interesting—tasks. “The social responsibility of a business is to increase profits,” Milton Friedman wrote in the headline of his famous 1970 essay. Today, however, more and more business leaders are recognizing the need to assume environmental and social responsibility and to position their companies as purpose-driven. If the strategy allows for it, we’re happy to take on this task—but with respect: The “P” word is too often misused, with a bouquet of nice-sounding visions and values intended to distract from the conventional and poorly defined corporate direction. Companies are enablers of the future. This isn’t just of interest to shareholders.

6. Gold Standard: The best-written Swiss campaign?

As authors and copywriters, we’ve chosen a long-copy campaign—specifically, a dignified, unhurried, and touching campaign for Emmentaler. The ads and posters were written by Martin Suter a good 30 years ago. We could have also included a long-copy ad we wrote ourselves for the NZZ Folio, but according to the preachers of “Swissness,” the Swiss shy away from immodesty like a vampire shies away from a garland of garlic.

((Headline))
The flat, flower-patterned plate ((Small image: Schnäfu Emmentaler on a plate))

… On the battered wall, hanging from a hook that had been patiently reattached time and again, was a bottle brush with a long handle made of two wires twisted together. In the pass-through to the living room was a round, tin bread box, on whose lid someone had painted two roses. In the cupboard was a box of parcel strings that had been painstakingly untangled and neatly rolled up, among which tiny balls of colorful and golden ribbons sparkled here and there like Christmas decorations. That was my grandparents’ kitchen, and this is what remains of it for me: a flat, flowered plate, on which a piece of Emmental cheese sometimes lies.

«Balenciaga's brand strategy is, in a sense, to have no strategy at all, but rather to let consumers speak for themselves.»

7. Courage: How much courage does it take to work with agencies like Neutral?

Twenty years ago, Swiss marketing departments viewed us as aliens. They wouldn’t even invite us in for a meeting. For 100 years, advertising creatives had been copywriters and graphic designers. But certainly not artists, designers, architects, or scientists. Where would that lead us? Of course we work with graphic designers, too—the very best ones. (And: We’re currently looking for an architect.) Zurich Insurance’s European corporate business was our first major account. The target audience was the CEOs and CFOs of the largest companies in eight European countries. The immersive campaign «The Next 3 Years» was a blockbuster. Today, we recommend Neutral to anyone who has a message to share.

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* Neutral Founder Rudolf Schürmann, Strategist and Creative Director, as well as Michelle Nicol, an art historian, curator, and author, are pioneers in the transcultural application of architecture, art, design, and science. Their jointly run agency has received numerous awards for creative work, most recently including ADC Double Gold in the premier categories of Overall Campaign and PR for «Ai Weiwei & Hornbach.».

m&k: Reinhold Messner, you climbed your first 3,000-meter peak as a young boy, accompanied by your father. Be honest: Did you already realize back then that mountaineering would shape your career to such an extent?

Reinhold Messner: No, I was too young back then. For me at the time, it was simply a way to escape the confines of the Dolomite valley where I grew up. And I was curious about what lay beyond the steep mountains that framed our valley. Incidentally, I have to admit: I didn’t build a career. I’m a «freelancer,» and it wasn’t until I was fifteen or sixteen that I was even ready to dream of living a life like the one I’ve ended up with. I didn’t plan it that way.

 

So, for you, mountain climbing wasn't «the only option»?

No. I keep changing paths whenever I realize that a particular activity no longer fulfills me. And so, in a way, I’ve actually lived several lives so far—lives that, in retrospect, might seem to form a pattern… but in reality, I’ve simply developed ideas bit by bit and turned them into reality. I wouldn’t call myself an adventurer per se; I’m closer to being an artist. Or an entrepreneur: I undertake journeys, I undertake a book project, I’ve set up a relatively large museum. I am now in the process of filling this final phase of my life, and in doing so I will travel around the world to pass on my legacy. Which, by the way, does not consist of large sums of money, but rather of experiences and a way of life.

 

And yet, as an adventurer, you have done things that no one before you has ever accomplished.

How important was that to you as a driving force? In my twenties, I certainly felt the urge to go beyond what I had achieved—not just my own achievements or my own limits, but beyond the norm. You see, mountaineering is a relatively young discipline that’s only been around for the last two hundred years. And from the very beginning, it has been driven by a single question: Is something possible or impossible? Every young generation has tried—and will continue to try in the future—to make possible what the older generation defined as impossible.

 

In 1968, as a true pioneer within your community, you wrote about the «murder of the impossible.» What did you mean by that?

Back then, I posited that the ever-increasing use of technology in mountaineering eliminates the «impossible.» As a result, passages that were previously impassable can now be overcome simply with clever tricks. But if nothing is considered impossible anymore, there is no progress. That’s how I came up with what became known as «minimalist alpinism,» and later applied it to the great mountains. I told myself: It remains an art only if I forgo certain key techniques. If I use oxygen equipment or bolts, I can climb anywhere without much skill.”.

 

So you deliberately made life difficult for yourself?

What we do in this kind of mountaineering may seem like a contradiction, but it’s actually quite logical: We go where we could die in order not to die. «Not dying» is the goal; that is the art of it. And it remains an art only if there is a real risk of dying. If I eliminate the risk by using technology, then it becomes mundane.

«Mountaineering remains an art only if I do without certain technologies.»

 

A wave of widespread technological advancement is sweeping the world: His warning from 1968 is, in fact, the perfect metaphor for the present day, five decades later.

This will come back to haunt us in the coming decades if we don’t learn to deal with it. If we don’t learn to recognize the dangers that exist and avoid them. If things continue this way, the next election in Germany won’t be decided by Germans, but from somewhere else in the world via the internet. If things continue this way, the money we’ve hoarded in the bank will disappear. The really big scams may still be ahead of us. Yes: Sometimes I even fear that, in the end, we won’t know who we really are anymore.

Getting to know oneself—discovering who one is—is, as you write, something that is particularly possible in the solitude of the wilderness. What have you learned about what it means to be human during your travels?
When you’re confronted with the wild, it’s all about empathy, emotions, and fears. It’s about gauging your own doubts, worries, and fragility—perhaps using a mountain as a reference point. It’s simply not about the heroic element. That may have been the case in the past, but it was only a pretense. I, for one, stand by what I experience, and I strive to write in my books exactly what is happening, above all, within my psyche as I expose myself to the solitude, silence, and vulnerability of the mountains.

In this context, you often talk about the conflict between freedom and security, which so many people are likely to be feeling right now.

Adventurers and extreme mountaineers are essentially returning to an archaic world that once existed ten thousand years ago and has been steadily shrinking ever since. Over the past millennia, humans have really done nothing but create a sense of security. In the beginning, they cultivated and harvested grain. Then they built small walls around their dwellings and formed clans—sixty to seventy people who lived together and survived. And so on and so forth. But if I want security—whether in a clan or in a nation—then I must give up some freedoms. The more security I want, the more freedoms I must give up. If, on the other hand, I want complete freedom for myself, I no longer have any external security, but instead bear direct responsibility for everything.

«Sometimes I even worry that, in the end, we won't know who we really are.»

 

Something you've experienced countless times.

Yes. We’re entering an archaic world. There are no certainties there, no laws, and no one to stop you. There, we live according to anarchic patterns. In this case, anarchy doesn’t mean chaos, but rather: no institutionalized power for anyone. Instead, everyone bears responsibility. Incidentally, when a small group collectively exposes itself to this archaic world, you learn fascinating things about the dynamics of leadership: one person in the group automatically takes the lead. Not by contract, but as if by itself, the group transfers leadership to the strongest person. And this person leads as long as they can. If they drop out, get injured, or are tormented by fears, someone else takes over and receives from the group the energy they had previously given to the former leader.

«I can't even count how many times I've heard the phrase, »Mr. Messner, you can't do that!'"

 

When you say that, I wonder if the wilderness has made you more critical of the workings of civilization.

Well, the only reason I’m not in jail is thanks to my secretary, because she always takes care of the red tape for me (laughs). And the fact that I’ve calmed down a bit in the meantime. Looking back, what I’ve experienced during my time on Earth—in terms of political resistance, bureaucracy, and sheer stupidity—is simply unbelievable. I’ve lost count of how many times I’ve heard the phrase, «Mr. Messner, you can’t do that!» Of course, I also owe part of my success to that kind of resistance, because in the end I’ve always prevailed.

 

You've come very, very close to death several times. How has that influenced your outlook on life?

It’s hard to convey that to a general audience. Near-death experiences are the worst and the most magnificent things a person can go through. I wouldn’t want to miss a single one. In those experiences, you confront the reality of death or dying. And not for a single moment did I feel that it was a negative experience. While something like that is happening, it’s as if, in the end, you grant yourself the willingness to accept death.
The instinct for self-preservation is, after all, the strongest instinct we have; otherwise, humanity could not have survived; it is ingrained in our nature. But if we push things to their absolute limit—and the instinct disappears, yet we still manage to cheat death through perseverance, luck, or chance—then it’s as if life has been given to us anew.

«Near-death experiences are the worst and the most amazing things you can experience as a human being.»

 

In my mind, your «border crossings» must have required sheer, immeasurable courage. Can this kind of courage be learned? Can it be cultivated?

Ever since I was a child—whether climbing or later as a teenager—I’ve always had a knack for «taking a chance.» Of course, there are doubts and fears beforehand whenever I take the next step. But if I don’t act on an idea because I’m afraid—and just wait it out—then those fears grow. If I take the plunge and say, «I’m going to try this!» then the fears shrink. I prove to myself, step by step, that it somehow works out. If you want to cross Antarctica—which takes three months on average with a heavy sled…—and then you imagine how long it will take, how dangerous it is if a storm damages the tent…—then you’ll never set out.

 

However, if you take each day as it comes…

Exactly—when you say, “I’ll go for a day.” And then, “I’ll go for another day.” And then, “I’ll go for yet another day”—though I’m not even thinking about that one yet—you’re breaking your doubts and fears down into a hundred little pieces. And then they become perfectly bearable. There were certainly people who were better than me. There are some greater adventurers than me, but they didn’t have the courage to take the plunge. They hesitated and hesitated, and in the end, they got scared and didn’t do it. And then, at the end of their lives, they were jealous of me because I have hundreds of stories to tell. But I did everything in very small steps. Never with seven-league boots.

«I did everything in very small steps. Never with seven-league boots.»

 

Did this radical focus on living in the moment make you happy?

Ah, that happiness everyone’s looking for (laughs). When people read those «happiness books»—the ones that claim you can achieve happiness just by reading them, so to speak—I can’t help but smile. Happiness isn’t attainable that way. Happiness just happens to us humans. We often don’t even realize we’re happy. When I have an idea that sparks an explosion within me, putting it into action leads to a fulfilling life. It happens almost incidentally, bit by bit. And a fulfilling life is linked to happiness. Only at the end, when we emerge from a state of flow, do we realize: We were happy during that time, too. That can happen while writing, while furnishing a house, or even while walking. Or when I’m developing a new museum right now, I’ll be in a flow as I bring together art, memories, and relics. Then I hardly need to sleep or eat. I know I’ll be happy.

As a guest on SRF’s «Sternstunde Philosophie,» you once said that the roots of the human condition lie in creativity and the ability to create meaning. Mountaineering seems to have been your vehicle for both, but not the only one …

Let’s put it this way: I learned that through mountain climbing. When I was sixteen and my brother was fourteen, we started climbing big walls. My parents said, «That’s too dangerous—don’t do it!» We did it anyway. During that time, it somehow dawned on us that what we were doing seemed pointless in our parents’ eyes. Back then, it also wasn’t foreseeable that I’d later be able to make a living, so to speak, from the byproducts of these activities. It was completely pointless. But for us, it was, as it were, the most meaningful thing we could do.

 

What conclusion did that lead to?

That’s how I learned that we humans can and are allowed to create meaning ourselves. And that utility is a completely different matter. I can do something and find it absolutely meaningful, even if that action has no practical benefit whatsoever. Every person on this earth has the ability to create meaning and to live out their creativity. We once attributed this to the gods in our stories, but it actually lies within us. And I take the liberty of attributing more meaning to my actions, to a particular cause, or to a particular person than to other things. This is an essential part of how I live my life—and thus also of my success.

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Reinhold Andreas Messner, born on September 17, 1944, in Brixen, South Tyrol, is an Italian extreme mountaineer, adventurer, author, and former member of the European Parliament. Messner was the first person to reach the summits of all fourteen eight-thousanders. He was also the first to climb an eight-thousander solo (Nanga Parbat, 1978) and, two years later, became the first person to reach the highest peak on Earth (Mount Everest, 8,848 m above sea level) without bottled oxygen and solo.

 

For many Swiss companies, 2020 meant one thing above all else: a standstill. Budgets were put on hold (which hit many marketing departments particularly hard); expansion plans were suspended indefinitely, and daily life was dominated by the effort to navigate the pandemic with as little damage as possible.

But then there were also the other companies—those that thrived during the crisis, exceeded the budgets of «normal» years, or developed creative solutions that helped them tap into new business areas. These companies are found not only in the relevant booming industries such as e-commerce or digital communication, but also in fields where one would hardly have expected to find them. The consulting firm PwC therefore wanted to know: What makes companies winners during a crisis? What steers them safely through stormy waters? The factors are manifold—but a smart approach to customer intelligence—that is, the process of collecting and analyzing information about customers and their activities—tops the list.

Background of the Study

For the Research Paper «The Evolving Customer: Profile of a Winner» In the fall of 2020—at a time when the second wave of the pandemic was in full swing—the consulting firm surveyed more than 500 European executives. One criterion for selecting respondents was that their companies were able to achieve growth despite market disruption; another criterion was that the company’s long-term goals were not neglected even during the «exceptional circumstances of the pandemic» and that progress toward achieving them was made. The full study is available to readers of this magazine, but here is a brief summary of some of the key findings: Companies that consistently align their transformation processes with the needs of their customers are disproportionately likely to emerge as winners from the crisis. It is essential that they also provide an outstanding customer experience in the digital space—and adapt new technologies both internally and externally, integrating them into their processes. In addition, they prioritize agile work practices, growing revenue, and operating with exceptional efficiency.

«Disruption is driven by customers whose needs are not being met.»

When analyzing the study’s results, it is striking that customer intelligence, in particular, is of enormous importance. After all, crisis or no crisis: Whatever the trigger for transformation may be, the most important single factor for its success, according to the PwC study, is a clear understanding of customer needs, followed by a flexible response to changing customer behavior and preferences. This is where the wheat is separated from the chaff: While the winners stay in close touch with their customers, only two out of ten companies in the group of less successful firms can claim that they «process customer feedback in real time and comprehensively understand the customer journey.».

Understanding Customers Leads to Revenue Growth

The PwC study highlights the enormous difference that a smart approach to customer intelligence makes between successful and less successful companies: The winners are at least 30 percent more likely to develop new business opportunities from their interactions with customers; which in turn leads to short- to medium-term revenue and profit growth. This is also an important message for those decision-makers who are deterred by the complexity and costs associated with transformation processes and therefore put off necessary reforms.

Praise from the Critics

Furthermore, according to PwC, a one-time interaction can only become a lasting, sustainable relationship if companies maintain constant contact with their customers and continuously assess whether they are satisfied or dissatisfied. Carl Haynie, Director of Customer-Centric Transformation at PwC Switzerland, explains: «Contrary to popular belief, digital and customer-centric business transformation is rarely driven by a company’s desire to reinvent itself in order to stay ahead of the curve. Far more often, disruption is fueled by dissatisfied customers whose needs are not being met.»

Further Steps on the Path to Success

In its study «The Evolving Customer: Profile of a Winner,» PwC also identified various other criteria for successful business operations in challenging times: for example, breaking down internal silos, fostering trust among various stakeholders, leveraging technology as an enabler, and focusing on leadership and strategy.

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INTERVIEW

«Just deciding to make a change isn't enough»

Peter Kasahara, Managing Partner of Digital Intelligence and Customer-Centric Transformation at PwC Switzerland, speaks with m&k about success and customer needs.

m&k: Peter Kasahara, why do some companies still find it so difficult to consistently align their business with customer needs?

Peter Kasahara: There are three factors that have a significant impact here. First, companies often do not know their customers’ needs at all—or at least not well enough. Second, I’ve observed that companies which do have information about consumer preferences and behavior often fail to efficiently translate this into personalized offers that would provide customers with tangible added value. This, however, would be crucial for keeping pace with the ever-faster-changing consumer needs and the increasing
Meeting customer expectations. After all, personalized experiences allow companies to build and strengthen their relationship with customers.

 

They say it themselves: Customer Intelligence is more important than ever. How if you integrate their Use it in the Business processes? I I guess that sounds like a little easier than it was on the That's the end of it…

Companies that don’t yet know their customers very well, in particular, naturally have some catching up to do in this area. Simply deciding to make a change isn’t enough: The question then arises as to what capabilities—both in terms of human capital and technology—the company actually has to undertake this transformation.

 

How has the pandemic how companies conduct their business with customers Changed?

Those who had the necessary resources—not every industry was so fortunate—have in many cases experienced a huge boost in their ability to harness digital potential. These are the «winners.» However, we’re also seeing that the gap with those who were already struggling with problems has widened, and the market is consolidating.

 

In 2020, the year of the coronavirus pandemic, one in two online stores in Switzerland saw an increase in orders of more than 20 percent. This is according to the latest survey of online retailers conducted by the Institute for Marketing Management at the ZHAW School of Management and Law. «Swiss consumers shopped online more frequently due to temporary store closures or to avoid visiting brick-and-mortar stores,» says study author Darius Zumstein. In addition, many working people changed their leisure activities due to mandatory work-from-home policies. This has significantly increased digital demand for goods such as do-it-yourself and gardening supplies, groceries, and sports and toys. As daily office work shifted to people’s homes, online orders for computer, electronics, and multimedia products also rose.

«Marketing tools such as print ads, outdoor advertising, radio, and TV are losing ground.»

Zumstein expects the trend toward online shopping to continue even after the pandemic: «82 percent of the 322 Swiss online stores surveyed expect sustained growth. Even if all stores are open again and some consumers start shopping in-store more often, many have grown accustomed to the fast, hassle-free experience of online shopping and won’t return to the »old normal.«» It’s not just young digital natives who are ordering everyday goods online; older generations have also come to know and appreciate the convenience of home delivery in recent months. According to Zumstein, while e-commerce growth in 2021 won’t reach 30 percent again as it did in 2020, the dynamic trend will continue. What does this mean for marketing? Zumstein explains: “First, marketing is also going digital. Search engines and social media marketing are gaining massive importance. Traditional marketing tools such as print ads, outdoor advertising, radio, and TV continue to lose ground. Second: Marketing and the point of sale (POS) are becoming increasingly intertwined; their technologies, processes, and organizational structures can hardly be separated anymore. And third: Marketing is becoming more data-driven and personalized. Customers are increasingly receiving information and offers that are precisely tailored to them and therefore relevant to them.”

Hybrid Shopping

In addition to online shopping, hybrid shopping models such as click-and-collect also experienced a surge in popularity during the pandemic. Depending on the retailer’s size and digital capabilities, orders are placed by phone, email, fax, or through the online store. At certain companies, orders can also be placed via WhatsApp or social media platforms like Facebook and Instagram. The retailer then contacts the customer to let them know when, where, and under what conditions the merchandise can be picked up. This shopping model has the advantage of ensuring that personal contact between the retailer and the customer doesn’t completely break down during times of crisis. «It’s just a drop in the bucket. But we’re grateful for every item sold. Since the lockdown, I’ve been at the store every day from 10 a.m. to 3 p.m. to show—I’m here!» explains the owner of a shoe store in Mainz to the German broadcaster SWR1.

«The trend away from mass marketing toward communication that is as personalized as possible will take hold.»

The trend toward hybrid shopping formats is unlikely to disappear entirely after the pandemic. This is influencing the design of retail stores and marketing at the point of sale. «When customers make their purchasing decisions before even visiting the store and their time spent in-store is reduced, targeted marketing at the POS becomes all the more important,» says Lucien Denier, a marketing expert at full-service provider Schelling. It will be essential to capture customers« attention within an even tighter time frame and create incentives for subsequent interactions across online and offline channels. »In our view, display communication surfaces are becoming increasingly important; there is a shift from product-bearing displays to displays that accompany products.”” The trend away from mass marketing toward communication that is as personalized as possible will prevail. This is evident in individually printed surfaces produced digitally, animated elements, or sensor-controlled lighting effects on displays.

From POS to POE

According to Lukas Lauwiner, head of marketing at Richnerstutz—a company specializing in three-dimensional communication—interaction between customers and providers had already undergone a fundamental shift even before the pandemic: «The possibilities offered by digitalization are creating entirely new expectations for the customer journey.» However, the new way of using storefront windows can definitely be attributed to the COVID-19 crisis: «Experiences while waiting in line have become enormously important. During lockdowns, the storefront window was the only analog means of communicating with passersby. Unsurprisingly, our concepts have evolved so that the storefront is now used more for interaction or serves as a bridge to e-commerce,» explains Lauwiner. In 2020, Richnerstutz experienced a real boost in digitalization. Additional software skills and in-house developments have further strengthened the bridge between the physical and digital worlds.

«The importance of product recommendations and combination options will continue to grow.»

Dana Leitner-Schall, head of marketing at Westiform, a specialist in visual communication, emphasizes that even before the COVID-19 crisis, the point of sale (POS) had increasingly been transforming into a showroom and experiential space—a «point of experience.» With the expansion of e-commerce, this trend is likely to intensify, and visitor numbers will be redistributed. «Marketing must therefore focus on a balanced mix of digital and analog elements that convey the brand experience and provide customers with individual benefits or support personalized offers,» says Leitner-Schall. The importance of product recommendations and customization options tailored to individual preferences will continue to grow. This phenomenon, familiar from online shopping, is now expected by customers in traditional shopping experiences as well. For brands, it is becoming increasingly important to communicate authentically and in line with their brand identity, as well as to promote brand values such as sustainability and a sense of community. “The store is no longer purely a transactional space, but rather a meeting place where consumers want to be entertained, informed, and inspired—ideally with offers tailored to them or customized for them,” explains Leitner-Schall.

Marketing must constantly redefine and reinvent itself.

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The 2020 Online Retailer Survey This was the third time the survey was conducted, following those in 2018 and 2019, and 330 Swiss online stores participated, representing the business-to-consumer, business-to-business, and direct-to-consumer sectors, as well as manufacturer-operated stores. One-third of these online retailers operate in both the B2C and B2B sectors.

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SHORT INTERVIEW

«Omnichannel sales remain a major issue»

Darius Zumstein is Lecturer at the Institute for Marketing Management the ZHAW School of ManaManagement and Law. m&k talks with him about the potential of e-commerce and the opportunities hybrid shopping.

 

 

m&k: Darius Zumstein, which sectors will continue to benefit from online retail in the future?

Darius Zumstein: Virtually all industries and product categories are benefiting from the current e-commerce boom. In 2020, due to stay-at-home measures, online sales grew the most in the categories of home goods, computers and accessories, sporting goods, and groceries. Sales of toys and furniture also shifted from offline to online.

 

Where do you see the biggest Potential?

I see the greatest e-commerce potential in the following four areas: First, in business-to-business—there’s a lot of ground to make up there. Even machines, tools, and other complex products that require extensive consultation—as well as replacement parts—will now be sold online. The crisis is forcing B2B companies to digitize; otherwise, they’ll be out of the game even with COVID-19 subsidies. Second, SMEs are overcoming their reluctance to embrace digital technology and can successfully sell online even with limited resources. Third, manufacturers are increasingly selling directly to their end customers online, thereby eliminating middlemen. Why leave margins on the table unnecessarily? And fourth, those industries that are still lagging behind in e-commerce—such as food, furniture, cars, and sporting goods—are catching up.

 

Will hybrid also be Shopping at the nearest In recent years, a major Play a role?

Yes, omnichannel sales are and will continue to be a major topic. More than half of Swiss online stores also sell through brick-and-mortar stores as well as other digital sales channels such as marketplaces, social media, or WhatsApp. The challenge here is coordinating all channels and integrating the systems and data from the various «customer touchpoints.».

m&k: Thomas Schwetje, you work for one of the most popular Swiss brands of all time. Does that make your job as Head of Marketing at Coop a dream job?

Thomas Schwetje: Yes, absolutely. But not just because of the Coop brand’s popularity: What’s really great about my job is that you get immediate feedback on what you do. Thanks to our prominence in Switzerland, there isn’t a single campaign where we don’t receive immediate feedback from the public. There are always people who say, «I think your campaign is great»—or, «I think it’s ridiculous!» Food is an area that everyone can relate to; it plays a role in everyone’s life. At the same time, we’re able to measure the success of our activities very effectively; we can determine which marketing measures generate how much revenue. That can be sobering at times, but most of the time I think it’s great (laughs).

 

As a marketer, what's more important to you? The numbers—or your customers' emotions?

To be completely honest: I get paid to optimize the numbers. But outsiders often judge you based on «what people say.» Of course, I see my primary job as bringing people into our store every day… and ultimately, that’s more important than whether someone thinks we ran a cute Christmas campaign. Of course, that’s nice too—it’s good for the soul—but the impact on sales from emotionally appealing TV commercials is much smaller than the impact we can generate every week through a great promotional magazine.

 

So you're advocating for data-driven marketing—even beyond your industry?

In my opinion, marketing focuses too often solely on communication. The metrics are sometimes a bit strange. How do you measure the success of advertising? What exactly makes a good TV commercial? Often, people only look at whether a commercial is funny, likable, or memorable—but not whether it actually drives people to the car dealership, the supermarket, or wherever else. Even though, at the end of the day, that’s the goal.

 

So, how important is creativity in marketing to you?

By creativity, I don’t just mean the typical advertising creativity. Creativity is also essential if you want to successfully personalize digital channels. Or when you want to increase market share among young families and set up a family club to do so. Price differentiation, special offers, content strategy—all of these are expressions of the kind of business creativity that marketers absolutely must demonstrate.

 

Keyword: «data-driven creativity»?

Yes, data-driven creativity, but also analytical creativity—that is, creativity that goes beyond market observations. You know, people often act as if creative people can’t be analytical, and vice versa. I don’t believe that.

 

What conditions must large companies put in place to enable marketers like you to do your jobs successfully?

I thrive on having a great deal of freedom because it motivates me immensely. The ability to put my own ideas into practice is absolutely essential to me. That said, you also have to be able to explain yourself and set benchmarks for your own goals that you need to meet.

 

So, does that mean marketers need trust above all else, a priori?

Well, of course you don’t have that level of freedom right from day one. You have to earn that trust. The people around you—the team, management—have to say, «Schwetje isn’t just messing around; he really knows what he’s doing!» And of course, you also need financial resources for successful marketing. That said, a higher budget rightly comes with higher expectations. If I have opportunities that others don’t have, but still do a worse job with marketing… then my seat would probably start to wobble very, very quickly (laughs).

During our preliminary conversation, you described yourself as a «competitive type.» What do you think: How many «Migros kids» have you and your team turned into «Coop kids» so far?

I think it’s very difficult to turn a «Migros kid» into a «Coop kid.» But you can take a customer who tends to spend 70 out of every 100 Swiss francs at Migros and 30 at Coop, and turn them into someone who spends only 64 francs at Migros and 36 with us. That person is still a «Migros kid,» but we’ve increased our sales with that customer by 20 percent. It’s definitely possible. I believe, in any case, that we need to move away from bipolar thinking. In retail, it’s not about «either… or,» but about «share of wallet.» And that’s where we come in.

 

In your opinion, what do you think is the biggest difference between Coop and Migros?

Of course, the brands have become a bit more similar in recent years, as our competitor has increasingly added major brands to its lineup, expanded its organic selection, and has even started selling alcohol in its online store. At the same time, we’ve slightly expanded our share of private-label brands. However, it’s very important to us to maintain the Coop brand identity—which includes clear market leadership in organic products and branded goods, as well as, of course, our expertise in wine and sustainability.

 

And what are you and your team doing to highlight the differences between the providers?

There are various strategies we employ. In our promotional communications, we highlight the major brands in our product lineup, partly because they’re the easiest to recognize in advertising. However, we also regularly promote organic products because we’re clearly perceived as the organic market leader in Switzerland. And of course, we promote alcoholic beverages as well, since this is where we differentiate ourselves from our main competitor. In our image advertising, we’ll increasingly focus on the themes of barbecuing and sustainability. We’ve successfully positioned ourselves around both of these themes in our communications over the past few years. And within our product range, we’ll continue to significantly expand our vegetarian and vegan private label, Karma, in particular.

 

You mentioned advertising: According to Mediafocus, no one in Switzerland spends as much of their budget on advertising as Coop. That makes them practically a pillar of media diversity, doesn't it?

Yes, we’re aware of that, too. Of course: My greatest responsibility is to our company, our employees, and our cooperative members. That means we must use the resources at our disposal in the best possible way for Coop. I must fulfill this responsibility first and foremost. But at the same time, I also have a responsibility toward the media landscape in Switzerland. And I fulfill that responsibility in accordance with certain principles.

 

For example?

If we need to reallocate funds—toward digital media, for example, and away from print—because our business success depends on it, then that’s what we have to do. But we’re not forced to do it overnight. I don’t have to flip a switch. Because—leaving the pandemic aside for a moment—there’s no situation that justifies going from 100 to zero. We’re aware of our responsibility, and we take it seriously. That’s why I’ve sought open dialogue with many media representatives in the past: I’ve explained what we’ll be doing over the next two or three years and given them the opportunity to adapt their offerings accordingly. When it comes to our media budget, responsibility also means providing our partners with planning certainty.

 

And do you conduct these conversations yourself? Surely that could easily be delegated …

There are two reasons for this. First: No one is more credible when it comes to matters involving the marketing budget than my staff and I. I can vouch that what is discussed during negotiations is accurate and will be honored. But I can also explain why things are the way they are. On top of that, I don’t shy away from responsibility, even if it can be difficult at times. That’s my job, and I simply think it’s wrong to outsource that to a media agency. You know—in Switzerland, you run into each other a hundred times in your life. I want the people I’ve worked with to be able to say at any time: «Schwetje may have negotiated hard, but he was always transparent. Always fair.»

«I don't shy away from responsibility, even if it can be difficult at times. That's just part of the job.»

 

Apart from the pandemic, what challenges are currently keeping you and your team the busiest?

I could give you a whole range of examples right now. Let me single out one: We’re working hard to further enhance the relevance of our communications. After all, we launch several hundred promotions every week; when a retiree sees a Coop ad online, they obviously shouldn’t be shown promotions for inexpensive baby food (laughs). Instead, perhaps a discount on that great Spanish red wine. That means we have to conduct smart data analysis, apply the insights from that analysis to automated email newsletters or apps, and deliver personalized messages. The real challenge is doing this in a timely manner in ads on third-party digital platforms like «20Minuten» or «Blick.ch»—which sounds pretty simple to laypeople but proves to be enormously complex in practice. I’m so grateful that our IT team is such a reliable partner here and, above all, generously turns a blind eye to the fact that we marketers are always coming up with new ideas and want to implement everything as quickly as possible (laughs). And I love challenges anyway; I’m sure we’ll pull this off.

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Thomas Schwetje is Head of Marketing and Digital Services at Coop. He has been with the company for nearly thirteen years; prior to that, he held management positions at the consulting firm BBDO and at Apollis AG, among other roles. Thomas Schwetje is married and lives with his wife and children between Basel and Düsseldorf.