The news portal Watson is starting 2021 with a revamped brand presence. In addition to further anchoring the brand in German-speaking Switzerland, Tarkan Özküp, Chief Commercial Officer at Watson, wants to relaunch the brand in French-speaking Switzerland. Watson.ch/fr will go live at the beginning of March.

"When everything has to come from the same mold and you don't want to do two campaigns, it's a challenge," explains Özküp. The tried-and-tested claim "News without blah blah" remains, but the new message "Show attitude. Read Watson.", it puts Watson's journalistic performance mandate at the center. "Thanks to social media, anyone and everyone can publish these days, but fake news and social fragmentation are also increasing massively as a result," Özküp continued. The mission of a purely digital news portal like Watson, he said, is to take a stand in this social dilemma environment and offer users guidance. "That can be summed up with 'Informez-vous. Affirmez-vous. Lisez Watson.', translates very well," Özküp explains.

Attitude instead of blah blah

Watson CEO Michael Wanner is looking forward to the campaign launch: "The message of the campaign gets to the heart of the matter: Inform yourself before you just mean it! Watson offers you the opportunity to inform yourself broadly and without hurdles. Those who have informed themselves should then be happy to show their stance."

The campaign features four young people between the ages of 22 and 38, captured photographically in an intimate moment by Maurice Haas. Self-confident, they call on people to show attitude.

The TV ads then go into the social media dilemma in greater depth. Watson plays with prejudices and breaks them down in four vignettes. In everyday language jargon, the protagonists think: "Women can't drive a car, sägets.", "Foreigners are all criminals, sägets.", "Pumper, händ nüt i de Birre, sägets." and "Women need a protector, sägets.". The protagonists then dissolve the prejudice themselves: "All blah blah" and anchor the message: "Show attitude, read Watson".

Broad-based measures

Watson relies on billboards, DOOH, public transport and all relevant digital formats that appeal to 20- to 40-year-olds. A national TV presence on all Swiss private stations, RTS, TF1, Comedy Central and MTV is designed to appeal more to Watson's main target group, 15- to 59-year-olds.

"The more authentic visual content is for shoppers, the more confidence they have when shopping. They no longer want to see boring, still images from photo shoots on the product page. Nearly 75 percent of respondents say they prefer to see content from other customers rather than professionally taken photos," Bazaarvoice states.

More than 8,000 consumers from the USA, Germany, France, the UK, Australia and Canada took part in the survey. For 66 percent, photos and videos of customers are important when making a purchase decision. For 62 percent, this even increases the likelihood of a purchase.

See products in action

Consumers prefer customer photos primarily because they allow them to see aspects of a product that professional images obscure (24 percent). 21 percent want to see a retail product in acion before they buy it, 17 percent also consider customer ratings to be more trustworthy due to authentic photos. (pte)

Lürzer's Archive presents the outstanding campaigns from around the world every two months and enjoys a corresponding reputation in the international creative industry. The rigorously curated magazine is published in 68 countries in German, English and Chinese and is regarded as an advertising bible.

The Covid 19 crisis also presented Lürzer's Archive faced great challenges, which is why the latest issue is a double issue. The just published Volume 5+6/2020 includes the creative highlights of the past months. The Zurich agency Ruf Lanz is represented with three campaigns in the international selection.

For the BFU accident prevention advisory board, the creative agency used an illuminating analogy to show that only those who shine will be seen by others in the dark (Werbewoche.ch reported).

For Hiltl, the "No animal in sight" campaign continued, in the context of last year's referendum on the revised hunting law (Werbewoche.ch reported).

For the "Build Smart by Otto Fischer" platform, which intelligently networks building technology, Ruf Lanz celebrates the art of connecting everything properly - visualized with buildings in dot-to-dot style (Werbewoche.ch reported).

The Family-Owned Business Glatz has been in the business of supplying umbrellas for over 125 years. In 2020, Glatz is charting a new course and redefining its corporate strategy for the coming years. Based on this realignment, Scholtysik & Partner is developing Glatz’s brand strategy and new overall brand identity.

Making Posture Visible

The new brand design is based on Glatz’s identity and commitment to quality: timeless, robust, and high-quality—just like Glatz’s umbrellas. The visual identity reflects the essence of the brand: authentic, Swiss, innovative, and steeped in tradition. The spacious, airy layout, combined with the clean typography, is designed to allow plenty of room for fresh, media-specific interpretations.

«The new logo and visual brand elements not only bring our innovative spirit and commitment to quality to life, but also convey our sense of tradition and our Swiss roots,» explains Isabelle Dürselen, Head of Marketing at Glatz.

Scholtysik & Partner is supporting Glatz in the implementation and launch of its new overall brand identity: from its online presence to print media and product labeling.

Following the two campaigns launched by AOP in the run-up to the referendums in early 2020 and September 2020, the product brands Gruyère AOP, Tête de Moine AOP, St. Galler Bratwurst IGP, and Vacherin Mont-d’Or AOP, among others, are launching a third wave of communications in collaboration with AOP-IGP.

As with the first two campaigns, Openroom also created the new ad concepts. The Zurich-based agency was awarded the contract through 2024 by the Swiss Association of AOP-IGP last year following a multi-stage selection process.

The goal of the campaign is, on the one hand, to establish the AOP (Appellation d’Origine Protégée) and IGP (Indication Géographique Protégée) quality labels in the minds of the target audiences and, on the other hand, to strengthen the individual product brands.

Across Switzerland, 1,500 F12-sized posters as well as digital posters are being used.

PerfectHair.ch was founded in 2008 by hairdresser Pascal Sagarra, his son Diego and Matthias Müller. Over the years, the online store has massively expanded its product portfolio. Today, PerfectHair.ch sells professional beauty products in addition to hair care products. More than 30,000 articles and over 300 brands are offered online in the e-shop and offline in the five hair and beauty salons in the greater Zurich area.

The private company Storskogen was founded in 2012 with the aim of acquiring and operating well-managed and profitable companies with leading positions in their markets. With the support of Storskogen, PerfectHair.ch aims to further expand its leading position in Switzerland, according to its own statements. In addition, Storskogen intends to provide support in other areas, such as expanding the product portfolio or extending the business to Europe and other countries.

Perfecthair.ch founders Diego Sagarra and Matthias Müller will retain their roles as co-CEOs and continue to be PerfectHair.ch shareholders.

As a company specializing in career reorientation, new placement, and outplacement, Shaperion committed to the concept of «Agile Leadership.» The firm advises and supports companies and senior or C-level executives in separation management and in developing a new leadership culture.

Schläfle Trittibach was commissioned to design and implement the company’s overall brand identity. In addition to the corporate design, the company also developed the website and a promotional brochure.

When creating the Shaperion wordmark, a subtle, nuanced change was made to the initial letters—a process that can be compared to an abstract, sculptural activity. This refinement was also incorporated into the visual concept. It features neutral, non-personified images from nature, where wind and water have shaped stones into monuments.

Due to the ban on large events, the basic vocational training of students in the "Veranstaltungsfachfrau/-mann EFZ" course is also suffering. In addition, many training companies have been confronted with a complete standstill of their activities for some time. As a result, a number of competencies of the basic vocational training of the next generation of professionals can currently not be taught or can only be taught inadequately.

The Swiss Association of Technical Stage and Event Professions (Svtb-astt), together with its partner association Artos and the apprenticeship companies, and with the support of the federal government and the cantons, has launched a project to close these gaps - the Swiss Education Showcase "Next Generation 2021". The Expo Event Swiss LiveCom Association supports the project of its partner association Svtb.

Bands can interact with fans

The apprentices will implement and carry out a total of nine major events in Switzerland and Liechtenstein under the direction of a training company - an OdA/organization of the world of work - in the form of large-scale virtual showcases. Well-known Swiss artists will participate in the project and perform on the big stage - professionally staged with light and sound by the industry's young talent.

Should the ban on gatherings be relaxed somewhat by the end of February, the concerts in March will take place in "hybrid" form at best. Then - under strict adherence to the security concept - a limited number of fans will also be able to follow the shows live directly at the respective venue.

Virtually, however, the events can be followed live via smartphone, tablet, PC or laptop: The audience is connected live on large screens and the bands can interact with them directly. In this way, artists and technicians receive direct feedback on how the show is received.

Everyone benefits from the know-how

The prospective event specialists will not only master a number of technical challenges for the implementation of these large-scale events, they will also be able to benefit from an immense learning effect. In this way, practical training for complex events is ensured and the entire industry as well as visitors to future large-scale events should be able to benefit from the know-how.

The events of the Swiss Education Showcase project "Next Generation 2021" start at 7:30 p.m. each. Tickets can be purchased via Ticketcorner.ch.

• February 25, 2021: Schlieren ZH, JED Event Halle - Showacts: Nickless, Ellas - OdA: Winkler
• February 27, 2021: Baden AG, Trafo - Showacts: Kunz, ZIBBZ - OdA: Habegger
• February 27, 2021: Bern, Expo - Showacts: Ritschi, Nicole Bernegger - OdA: Light Design
• March 4, 2021: Genève, Salle de l'Alhambra - Showacts: The Animen, Félicien LiA - OdA : Artos
• March 5, 2021 : Lugano, Lugano, LAC - Showacts: Sebalter, Joe Dallas - OdA : Emme
• March 5, 2021 : Basel, Rhypark - Showacts: Anna Rossinelli, Marius Bear - OdA : Audio Rent Clair
• March 6, 2021 : Lucerne, KKL - Showacts: Philipp Fankhauser, Gigi Moto - OdA : Image + Sound
• March 18, 2021: Monthey, Théâtre du Crochetan - Showacts: The Newgate's Knocker, Your Fault - OdA : Artos

To reach the next level of maturity in commerce, companies need to transform both their digital activities and their data strategy. This is described in the Merkle Customer Experience Imperatives 2021. Consumers expect brands to anticipate their needs, be there for them anytime, anywhere, and reward their continued loyalty. Data and content are the fuel that drives a company's engagement with its prospects and customers across all digital channels. Vendors need to rethink their approach - both in how they build these capabilities and how they operate them. This is the only way they can create contextualized and personalized customer experiences that drive business success.

This basic understanding leads us to two trends that we are currently observing on the market:

Trend 1: Commerce Experiences will go beyond simple transactions and shape brand perception

Commerce can be the all-encompassing relationship with customers, but it has been siloed: the store. This doesn't necessarily mean a physical or digital store, but the process of customers coming to the brand to access its offerings. We are now moving into a customer-driven market and entering a post-store era. E-commerce must evolve from isolated transactions to lasting customer relationships. Commerce Experiences are increasingly becoming Brand Experiences - not only because lockdowns limit in-store experiences, but also because all types of interactions, whether digital or physical, shape the perception of a brand. Even though the online store has now taken over the role of the always-open flagship store, ultimately all micro-interactions should reflect the brand and its values.

"Get a clear view of where you meet potential customers online and how you do business with them through continuous customer research," recommends Benjamin Adler, author of the white paper "E-commerce must evolve." "Internalize user-centric design methods and customer-centric ways of working. Establish a culture of experimentation and testing with a clear focus on conversions."

From implementing basic disciplines like social media, customer relationship management or email marketing to a company with differentiated, exclusive experiences, it's a journey in itself. The two technology companies Isobar Switzerland and Namics have worked with a Swiss luxury watch manufacturer to create an ecosystem that supports customer interaction anytime, anywhere. The implementations are also designed to enable an open communication and interaction channel between customers and the brand - across multiple touchpoints and the entire customer journey.

Trend 2: Commerce Experiences will be designed to maximize data

A commerce transaction is a turning point in the customer experience, where maximum attention is usually focused on the brand. For the brand, it therefore holds the potential to get to know and understand customers, transform them from casual shoppers into loyal customers, and ultimately turn them into loyal advocates. It is also a key moment to expand your own data pool. If the same approach is taken with every interaction, the knowledge about the customers and thus the data treasure grows exponentially. This is precisely why it is so critical for companies to improve their data management. In 2021, it will be more important than ever to master the ever-evolving approaches to collecting, managing, and mining valuable data for the customer experience - in real time and while preserving privacy.

"In the future, companies must, on the one hand, take full advantage of the data they collect themselves through more productive interactions with their customers and prospects. On the other hand, they will also need to forge strategic partnerships to obtain second-hand data," explains Adler.

Customer data gives companies a competitive advantage by creating helpful and relevant personalization capabilities that improve the customer experience and the lifetime value of businesses. This requires customer experience design to maximize data and experiences that incentivize customers to share their data. It also requires a strong infrastructure based on an enterprise identity management system that is able to handle and operationalize this data.

"One example is the Adobe Experience Platform (AEP), an enterprise platform that enables brands to leverage data from a variety of touchpoints to deliver differentiating digital experiences in real time and at scale," said Luís Nunes, Head of Digital Experiences at Isobar.

As specialists in usability, user experience and behavioral economics, ergonomists always approach things from the user's perspective. They simplify complex things for users - be it products, services or processes. For the clients of the ergonomists, this results in higher customer satisfaction, increased sales, less service effort, more project security and lower risks.

To this end, PAM has developed a positioning for the ergonomists: The consultancy that doesn't get lost in theory babble, but puts user-friendliness above all else when it comes to solutions for the user. The slogan "User-friendly greetings" is intended to express this.

In addition to the positioning and slogan, the agency created three advertisements that refer to the expertise of Ergonomen. The ads appear in Netzwoche and IT-Markt.

Do the Dilly Walk: This message is currently being spread on TikTok. In the #DillyGallopChallenge, young and limber people gallop, trot, neigh and jump like horses - and many of them wear socks on their hands and feet.

The Swiss startup DillySocks and the agency Serviceplan Suisse are behind the idea of making people gallop with four socks. "We were looking for a way to promote our 2-for-1 promotion - focusing on a young target group," says Sean Pfister, one of the three founders of DillySocks. "And when Serviceplan Suisse came up with the idea, it was immediately clear to us: this is the horse we want to back." The TikTok Challenge is finding more and more friends and imitators, according to its own information.

SRG is celebrating its 90th anniversary in a low-key way with a special anniversary collection of documentaries on its new streaming platform Play Suisse. The films also provide an insight into the multifaceted history of the media company and Switzerland's past since SRG was founded in 1931.

Airfield transmitter at the beginning

The first public radio stations in Switzerland were airfield transmitters in Lausanne, Geneva and Zurich. They broadcast news and weather reports for aviation, in between playing music from records, gradually adding general news and sports results. The seven regional organizations merged on 24 February 1931 to form the Schweizerische Rundspruchgesellschaft (SRG) association.

News only from SDA and "Spiritual National Defense"

SRG received the sole license for radio broadcasts in Switzerland from the Federal Council. By contract, information could only be obtained from the Swiss News Agency SDA. When Rhaeto-Romanic was recognized as Switzerland's fourth national language in 1938, the Zurich radio studio also began broadcasting in Rhaeto-Romanic.

ETH Zurich presented the new television technology for the first time in Switzerland at the National Exhibition in 1939. During the Second World War, SRG supported the "spiritual national defense" with its three national broadcasters, Radio Beromünster (German), Radio Sottens (French) and Radio Monte Ceneri (Italian). The broadcasts on the political and military situation were transmitted worldwide via shortwave. Radio Beromünster, named after the country station Beromünster in the canton of Lucerne, was considered the only "free" German-language station in Europe at the time.

From 1953, SRG introduced an official television service. A one-hour program was broadcast five evenings a week in the Zurich region. In 1954, SRG founded Eurovision together with eight other European television stations. In 1957, SRG received the first official television license in Switzerland. From mid-1958, the broadcasts in Zurich were supplemented by German and French-language programs from Zurich and Geneva, while the Italian-speaking Swiss station broadcast programs from the other parts of the country with Italian commentaries. In 1961, Italian-speaking Switzerland received its first television studio in Ticino, and the first Rhaeto-Romanic program was broadcast in 1963.

Third programs for the young and international opening

In the 1970s, SRG was able to put new television studios into operation in Geneva, Zurich and Comano. From 1971, radio news was no longer produced by SDA, but became the responsibility of SRG. From 1974, "Istorgina da buna notg", the bedtime story in Romansh, was broadcast twice a week on television. In 1983, SRG introduced third programs for young audiences: DRS 3 and Couleur 3. And from 1984, teletext was available on Swiss television stations for the first time.

In the same year, SRG launched the joint program 3sat together with the German ZDF and the Austrian ORF and the French-language channel TV5 Monde with French and Belgian TV partners. In 1988, the Ticino channel Rete Tre was launched. In 1997, the second TV channels SF 2, TSR 2 and TSI 2, which are particularly important for sport, were put into operation and the previous telephone broadcasting was replaced by the three Swiss Satellite channels Radio Swiss Pop, Radio Swiss Jazz and Radio Swiss Classic.

First internet platform in the late 90s

In 1999, Schweizer Radio International launched the SRG's first internet platform: Swissinfo.ch provided worldwide access to SRG programs and information from Switzerland. In 2010, Radio Suisse Romande (RSR) and Télévision Suisse Romande (TSR) merged to form Radio Télévision Suisse (RTS). The same step was taken in German-speaking Switzerland in 2011, when Schweizer Radio DRS (SR DRS) and Schweizer Fernsehen (SF) were merged to form Schweizer Radio und Fernsehen (SRF).

On March 4, 2018, the Swiss electorate rejected a popular initiative to abolish the media levy by 71.6%. SRG then introduced extensive transformation measures and implemented cost-cutting measures worth millions due to falling advertising revenue. Covid-19 further fueled these cost-cutting efforts, even though SRG's programs enjoyed above-average popularity during the pandemic. The new streaming platform Play Suisse went live on November 7, 2020 and has already generated more than 200,000 subscribers to date.

Documentary series to mark the anniversary

To mark its anniversary, SRG would like to provide an exciting insight into the development of the last few decades. A series of documentaries from all language regions has therefore been compiled on the Play Suisse streaming platform, making it possible to relive some of the highlights in SRG's history. There is also the illustrated history of SRG since 1931 visualized in a chronicle.