These were partly presented as facts, the UBI announced after its public deliberation in Lucerne. The view of the challenged and named business owner of a gemstone company had been insufficiently expressed.

Formulations and design elements such as the music were tendentious, as the UBI further ruled. The subsequent studio discussion with a cantonal data protection officer about video surveillance in the workplace also did nothing to change the audience's opinion. The "Kassensturz" report thus violated the requirement of factual fairness, as did the online summary of SRF 4 News, the UBI found.

However, the court rejected a complaint against another "Kassensturz" report. This was about the role of traders at livestock markets. It is true that there were deficiencies in the amount of the so-called sofarente for the importers. However, these would not have distorted the public's opinion.

In addition, the representatives of the livestock trade could have adequately commented on the allegations that thanks to the import rights it is easy to make money and there is collusion in livestock markets.

Jesus satire permissible

The UBI also did not reprimand a contribution in the satirical late-night show "Deville". In it, an invited artist called Jesus a "mega influencer" and speculated about how Jesus would do business today, for example as a cruise organizer with deep-sea hiking or in a nail salon.

In the eyes of the UBI, the comparison of Jesus with influencers could offend religious feelings. However, the decisive factor for the rejection of the complaint was that the article did not target Jesus but the questionable business practices of influencers.

Thus, the central beliefs of Christians were not affected. The fundamental right to freedom of belief and conscience was also not violated. The UBI added that it had to limit its examination to strict questions of law and did not comment on questions of style or taste. (SDA)

Anyone spontaneously looking for a freelance art director inevitably asks the question: who is available at all? To show leading creatives that he has time, Hekuran sent out postcards that made it clear under the motto #savemefrommynicelife and with deliberately joyless vacation subjects: Hekuran has no desire for leisure. What he wants is work.

The campaign has given him plenty of work: In the meantime, he has grown into a lean one-man agency with a flexible pool of resources. In addition to his assignments with agencies, he also serves direct customers as SibeSiech and fulfills their wishes from posters to websites to online spots.

With its fourth subject SibeSiech continues the campaign #savemefrommynicelife. 163 handwritten postcards were sent out. Anyone who has not received one is welcome to contact SibeSiech, the release says.

Black Friday and Cyber Monday have developed quite naturally in Switzerland over the past 10 years and have gradually spilled over from the USA to Europe - just like Valentine's Day and Halloween before them. Singles Day, on the other hand, was actively placed in the Swiss advertising landscape in German-speaking countries by a Chinese company and pushed in parallel with a major PR campaign. Many companies have already jumped on the new event and are offering a special "Singles Day discount" this Monday.

Unlike the advertising industry, however, Swiss customers are unimpressed by the Chinese Black Friday copy. A Comparison of Google Trends data for the two shopping days shows that the search volume for the keyword "black Friday" on Black Friday 2018 in Switzerland was significantly higher than the search volume for the keyword "singles day" on Singles Day 2018. 

The difference becomes even clearer when you look at the absolute figures. The Google Ads Keword Tool shows that there were 550,000 search queries on Google for "black Friday" in November 2018, and just 22,200 for "singles day".

Even in the past few days the Swiss were apparently more interested in Black Friday 2019, which takes place on November 29, than in its Chinese counterpart - even though Singles Day is already today. (pd)

Michelle Roth will be responsible for all internal and external corporate communications as well as relations with Swissgrid's stakeholders.

In her new role, Michelle Roth is responsible for the further development of Swissgrid's positioning with all stakeholder groups of the national grid company. This includes media relations, internal communication, digital communication, public affairs, grid project communication and maintaining contacts with the energy sector.

According to the press release, Michelle Roth has a solid track record and many years of management experience in various communications functions at companies in the energy sector and industry. She worked at ABB Switzerland from 2012 to 2019, from October 2015 as Deputy Head of Communications and from November 2016 as Head of Communications. In this role, she was responsible for internal and external communications as well as marketing communications for ABB's Swiss subsidiary. Prior to that, she worked for the Axpo Group for four years, most recently as Head of Public Relations. Michelle Roth also gained experience in political communications during her previous role at Interpharma.

Michelle Roth graduated from the University of Basel with a degree in German studies, communication and media studies and sociology. She succeeds Irene Fischbach, who has made a significant contribution to the further development of Swissgrid's positioning and is now leaving the company at the end of the year to pursue a period of training and further education abroad.

The Winterthur band Awesome Arnold provided the first musical entertainment of the evening. It continued with Kings, the Swiss-British dual citizen who is honing her international music career in London. One of the highlights at the 20-minute birthday party was the performance of Lewis Capaldi. The Scottish high-flyer is known as much for his sad songs as for his humor. In the cinema hall, he played an intimate showcase twice in a row.

After that, the guys from Hecht, who recently played at the sold-out Hallenstadion, lured the guests onto the dance floor of the Kosmos foyer with their dialect anthems. Finally, the guests danced to the songs of the Finnish newcomer Alma. 

Marcel Kohler, Head of Commuter Media, is proud: "In December 1999, a small commuter newspaper stirred up the Swiss media landscape mightily. 20 years later, 20 Minuten has not only grown up, but is by far the most widely read news medium in Switzerland. Reason enough to celebrate extensively, to toast with everyone to the success of the past years and to say thank you. And with a real party, as befits a 20th birthday." 

All employees, key customers and partners as well as an exclusive group of readers were invited to the birthday party, which was implemented in collaboration with the Standing Ovation agency. These had won the exclusive ticket to the party at one of the public transport concerts that 20 Minuten organized to kick off the anniversary celebrations. In the five biggest cities in German-speaking Switzerland, Nickless, Dabu Fantastic, Bastian Baker, Lo & Leduc and Crimer performed on streetcars, buses or boats in October. 

Following the global regression in advertising expenditure for beauty of -1.2 percent in 2018, this year will see growth of 2.7 percent, according to the figures published on Monday. Beauty Adspend Forecasts* by Zenith will even rise to 4.7 percent in 2021. This acceleration in growth will be driven by the global expansion of e-commerce advertising and the improved range of high-quality digital environments. Advertising spend on cosmetics will total USD 14.4 billion this year and reach USD 15.8 billion in 2021.

Print and TV suddenly no longer the focus of advertisers

Advertising spend in the beauty segment has faced difficulties in recent years. Print and TV, channels that are capable of building an emotional connection with consumers through bold imagery and high-quality production, have long been the focus of advertisers. Although both are still important components of the communication mix, they have lost many users to the internet in recent years. In 2014, magazines accounted for over 21% of advertising spend on beauty; by 2018, this figure had fallen to 13%. By 2021, advertising expenditure for cosmetics in magazines will only account for 8%, while the overall market will fall to 3%. TV's share of the beauty segment's media mix fell below 50% for the first time in 2016 and dropped to 40% in 2018, with the overall market for TV at 31%. By 2021, a decline to 35% is forecast for the beauty segment, compared to 27% for the overall market.

Shrinking target groups, new competition

The beauty market is becoming more fragmented and brand loyalty is more difficult to maintain as the number of brands increases. Established brands are exposed to competition from new rivals: Direct-to-Consumer (D2C) brands, eco-brands and private labels. Many of these new brands, especially D2C, are trying to grow through targeted promotion without investing in traditional brand building through mass communication, which typically drives the growth of beauty advertising spend.

This combination of shrinking target groups and new competition from new brands that are foregoing high-reach communication measures has led to persistent weakness in the beauty advertising market. Overall, advertising expenditure for cosmetics only grew by a mere 0.9% between 2014 and 2018 in 2016. In 2017 and 2018, advertising expenditure even fell by 1.2%.

Traditional campaigns for brand building

This situation is beginning to change as digital platforms such as Instagram increase the supply of high-quality environments and brands with image-conscious consumers now find more touchpoints where they look for inspiration. These brands are reallocating their budgets accordingly. Meanwhile, D2C brands are realizing that the market share they can gain without awareness is limited, so many are beginning to invest in traditional brand-building campaigns.

Retail vs. D2C sales

E-commerce sales are growing rapidly. Beauty brands are increasingly entering into collaborations with retail platforms as the availability of retail media increases, or relying on their own D2C platforms. However, these are not complementary investments: Spending on retail media may cannibalize D2C sales and vice versa. Brands need to decide which of these two paths to e-commerce to take.

This growth in online brand identity and e-commerce advertising is driving a rapid increase in internet advertising by beauty brands and an overall increase in beauty advertising spend. In 2018, internet advertising overtook television as the largest advertising medium for the beauty industry. Continued double-digit growth is expected until 2021, when it will account for 50 percent of all beauty advertising spend.

The majority of beauty purchases still take place in stores

Despite the growing importance of e-commerce, the majority of beauty purchases are still made in-store. While some consumers browse online, most want to experience a product before they buy it.

"Brands need to work with retailers to create more in-store shopping experiences. They need to use new technologies such as augmented reality to create digital brand experiences that allow consumers to try before they buy online," says Matt James, Global Brand President at Zenith. "By linking e-commerce and in-store experiences, beauty brands can help consumers shop more effectively."

Ethics and sustainability become central

Consumers expect brands to have ethical supply chains and sustainable products and will criticize those on social media that don't live up to this perception. Demand for plant-based products and eco-friendly packaging is growing rapidly - sales of vegan beauty products increased by 38% in the UK last year - and this is expected to continue.

"People are much more conscious of knowing where the products they use come from and how they are tested," says Tamina Plum, Global Head of Clients at Zenth. "Brands that are committed to meeting their customers' expectations can win their loyalty."

Jonathan Barnard, Head of Forecasting at Zenith, summarizes: "Beauty brands continue to invest in internet advertising to leverage the combination of effective brand building and direct sales channels. Nevertheless, TV and print remain important for beauty brands and account for a significantly higher proportion of advertising spend in the beauty care segment than in the overall market."

China spends the most

China is the leading market for beauty advertising spend in 2019 with an estimated 6.2 billion US dollars. This is unusual; for the overall advertising market and within the automotive and healthcare categories surveyed by Zenith earlier this year, China is second only to the US. Retail sales of beauty products grew faster than any other major category last year, driven by strong demand and increasing interest in the men's beauty sub-category. The early adoption of e-commerce advertising is the main reason for China's strong performance in the beauty sector. It has been growing for more than a decade and further investment is expected to increase spending in the beauty sector to US$6.9 billion by 2021.

Great growth potential in the USA

The USA is the second-largest market and spent USD 2.6 billion on beauty advertising in 2019. US beauty advertising continues to focus on TV and print, which account for 40% and 37% of the budget this year respectively. Internet holds at a 23 percent share. Beauty brands are just beginning to tap into the value of e-commerce advertising and there is huge potential for growth over the next few years, allowing the US to close the gap with China.

India is the fastest growing country

India is the fastest growing market for beauty advertising spend and the only market that has not had a negative year since 2014. Zenith forecasts a compound annual growth rate of 19 percent through 2021. India has the least mature beauty market - at just 0.3 percent of GDP, less than half the global average of 0.7 percent - and is therefore developing faster, causing beauty ad spend to grow rapidly along with other categories. Of all the markets in the study, India is also the fastest growing advertising market overall.

Aldi Suisse is relying on the skills of Scholz & Friends NeuMarkt for the creation of this year's Christmas campaign. The Hamburg-based agency has been looking after the Swiss offshoot of the German discounter for some time, and was responsible for the "Aldi Children" campaign launched in January 2017, among other things.

The spot, which can be seen on all Swiss TV stations from November 11, tells the story of a man who tries to get food in a remote hut. All attempts at hunting and fishing fail - in the end, the desperate would-be self-supporter has to realize that he would have been best off going straight to the nearby Aldi store in the middle of the Swiss mountains.

The Zurich film studio Solid & Hallerfilm was used for the production, and Great Garbo and Bloop, also from Zurich, provided the soundtrack. (hae)

Bamert will continue to host the show "Unterwegs" on Tele 1 Central Switzerland Television until April 2020, after which she will exclusively present the Jass show on SRF.

"I am incredibly pleased and honored to be able to take over this well-known and traditional show. The 'Samschtig-Jass' has been with me since I was a child. But it's also important to me to bring my job at Tele 1 to a good conclusion," says Fabienne Bamert. The 31-year-old continues with a laugh: "It's definitely not going to be boring in the next few months. The recordings for the 'Samschtig-Jass' already start in December."

Fabienne Bamert from Oberägeri ZG has been presenting various TV formats such as "Nachrichten" (news), the program "Unterwegs" (on the road) or the broadcasts of various wrestling festivals at Tele 1 Central Switzerland Television for ten years. She started her career at Radio Central.

Marco Krämer, Senior Producer of Jass broadcasts at SRF: "Fabienne Bamert has won us all over with her warm manner and her enthusiasm for Jass. We are very happy and sure that she will be a wonderful and competent host for the Jass show."

In stories from La Paz to Afghanistan, people shape their own future and courageously overcome even extraordinary hurdles. 

This willpower is to be reflected in Vontobel's brand identity, which has grown out of the rebranding with MetaDesign. It encourages critical thinking, personal responsibility and creativity and is encapsulated in the claim: "Own your success.

The campaign will be rolled out in Europe's core markets, run in digital and print formats and supported by a multilingual Microsite accompanied 

At the end of October, Digitec launched the new poster subjects for the ongoing product evaluation campaign presented. For the TV spots, the online retailer collaborated with stop-motion artist Bruno Conti to breathe life into the rated products. They react to the users' comments in and become actors themselves.

The campaign is accompanied by contributions from the 20-strong editorial team at Digitec Galaxus, which is inspired by the amusing ratings. The landing page for the campaign will be continuously updated with the corresponding editorial contributions. 

Christin Gmeiner and Otto Gmeiner from Dachcom and Paddy Gloor from Webstobe (from left to right).

Webstobe, based in St. Gallen and Appenzell, will become part of the Dachcom Group with retroactive effect from July 1, 2019. Webstobe has been developing internet and e-commerce solutions since 1998 and employs 17 people.

The Dachcom Group, headquartered in Rheineck, employs 90 people at 5 locations in Switzerland, Germany and Liechtenstein and realizes cross-media marketing and communication solutions. Dachcom is active in the four business areas of communication strategy, branding design, web solutions and online marketing and is a member of the industry association LSA (leading swiss agencies).

With the acquisition of Webstobe, Dachcom is strengthening its existing technical development division of Dachcom.Digital and ensuring the further development of increasingly complex web technology. "We not only develop graphic interfaces (front-end), but also support our regional, national and international customers in online marketing, technical programming and the operation of web-based communication solutions. We combine communication and technology to create coherent comm-tech solutions," says Otto Gmeiner, co-owner of Dachcom. Because technologies in marketing and communication are developing rapidly, many companies have a lot of catching up to do with their digital communication systems.

Webstobe will continue to be part of the existing team and under the leadership of Paddy Gloor, the current owner. In addition to his managerial role, Gloor will take on further responsibilities on the management board at Dachcom.Digital. "In order to enable future-oriented, profitable communication solutions for our customers, we need various disciplines that were previously not within our area of IT expertise. By joining the Dachcom Group, we can now offer our customers decisive added value," says Paddy Gloor.

The company CWS offers its workwear in the rental service and thus guarantees its customers the safety of their workwear at the same time. The clothing is regularly washed, repaired, inspected and maintained. The importance of the functionality of protective clothing for employees is emphasized by the company with its new campaign "Safety that inspires". 

Image video with heart

The campaign centers on an image video in which a little girl is inspired by the CWS protective clothing worn by some construction workers to make the world a little safer. "We didn't want to produce a typical promotional video showing our service. Rather, we want to make a wide audience aware of the importance of safe workwear," explains Michael Stielow, Lead Product Management Workwear at CWS. CWS got celebrity support from "Herbee," a hedgehog who is a real Instagram star with his 1.5 million Instagram followers.

Increase awareness among normal consumers

CWS Workwear is rather unknown to the average consumer. "We only sell our workwear to companies. Professionals therefore know us. However, those who have never come into contact with workwear are probably not," says Stielow. Especially in trade and industry, protective clothing is required for employees and is subject to strict regulations. The employer is responsible for providing the protective clothing.

In the long term, CWS wants its workwear division to be as well known as the brand's hygiene division, which is known from public washrooms through cloth towel dispensers or self-cleaning toilets.

The Cologne-based agency Kaune, Posnik, Spohr was responsible for the campaign and spot concept. The spot was produced by Chinzilla Films and directed by Jan Zenker.