Zenith is forecasting growth of 4.6% for 2020 and 2021, which is higher than the previous forecasts of 4.2% and 4.1% respectively. 

"Online advertising will exceed the 250 billion dollar mark for the first time this year," says Jonathan Barnard, Zenith's Head of Forecasting and Director of Global Intelligence. "The speed of growth is surprising. The reason is that small companies and digital challengers are encouraging established brands to improve their performance."

The estimates were also adjusted retrospectively, namely for online growth of 16% in 2018 instead of 12%. As a result, the estimate of online advertising revenue in 2018 was increased from USD 231 billion to USD 246 billion. This also suggests rapid growth for the coming years: an average of 10% growth per year until 2021. This means that online digital advertising will reach USD 329 billion in 2021, accounting for 49% of all global advertising expenditure. 

This growth will be driven by online video and social media, which are expected to grow by 19% and 14% per year respectively until 2021, while SEA and classifieds will grow at a slightly slower rate of 7% per year on average. 

The USA leads global growth The USA is by far the largest contributor to global advertising growth between 2018 and 2021, expanding the market by USD 32 billion. China is in second place with USD 16 billion, followed by India with USD 5 billion. 

Small companies target very specifically, digital challenger brands address a broader target group with high frequency

A large part of online advertising growth - and therefore the overall advertising market - currently comes from small businesses such as local stores, restaurants and hobby stores. Platforms like Google and Facebook have opened up the advertising market to many of these small businesses for the first time by offering simple self-service tools to create ads and manage campaigns. Localizing the targeting needed to reach a limited potential customer base is now possible. Advertising for small businesses thus rises from an extremely low base to a share of the advertising market that better reflects their actual contribution to the economy: In most countries, small businesses contribute half or more of GDP and an even larger share of employment. These companies do not use mass media to gain wide exposure. In fact, their customer base is often so limited that this would not make sense. 

Digital challenger brands are using the full arsenal of technology to conquer established markets and change entire categories. They also use venture capital to finance their digital campaigns - new money for the advertising market. To grow, these companies need to win new customers above all else. Achieving this online requires a completely different awareness strategy than in traditional media. Social video combines wide reach, precise targeting and impressive creativity, but attention spans are notoriously short, with the average scroll through a newsfeed often lasting just a few seconds. Brands need to create awareness through repeated short-term exposure and use personalization to make advertising more relevant. 

Digital challenger brands also in offline media 

Digital challenger brands are not only focusing on digital advertising, but are also establishing themselves as leading advertisers in offline media, particularly television and out-of-home. Spending by these digital brands is helping to underpin global TV investment, which is reasonably stable despite the decline in traditional TV consumption in key markets such as the US and China. TV advertising will grow by 0.7 percent annually until 2021. This only refers to traditional advertising on linear television; television-like services offered via the internet are included in internet ad spend. 

Out-of-home advertising is the fastest growing "traditional" medium - Zenith expects growth of USD 4.4 billion between 2018 and 2021 (compared to USD 3.7 billion growth for TV). Out-of-home continues to benefit from the growing adoption of digital screens, but also from the introduction of programmatic buying, which allows for more efficient and effective data-driven transactions. 

Print advertising continues to decline. We forecast that magazine advertising will shrink by USD 5.0 billion between 2018 and 2021. The volume of newspaper advertising will fall by 6.3 billion US dollars. There is no end in sight to this downward trend. Between 2013 and 2018, print's share of global advertising fell from 24% to 13%, and we expect this share to fall to 9% by 2021. Again, advertising is only included in printed publications - any advertising on publishers' websites or other online brand presences is included in the volume of internet ad spend.

The trend is similar in Switzerland: TV advertising remains stable despite a downward trend in daily viewing time, while out-of-home and online advertising is on the rise and the share of print is declining. In contrast to the global advertising market, print media still have a very significant market position in Switzerland (30% in 2018), but a downward trend is also clearly visible in this country. 

"Brands with more than a niche market share still need interruptive advertising at scale to attract new customers," said Ben Lukawski, Global Head of Strategy at Zenith. "With more and more communication taking place online, the challenge for brands is to increase awareness through frequent short contacts, rather than the occasional but longer contacts that are common with traditional media."
 

This week, the readers of our newsletter have a say in who will be named "Advertiser of the Year" on April 17. The nominees are Petra Dreyfus (Wirz Communications), Roman Geiser (Farner Consulting) and David Schärer (Rod Kommunikation).

All info on the nominees:

Petra Dreyfus

Roman Geiser

David Schärer

Info about the election procedure and the expert jury

This is how voting works:

On Wednesday we will send the link to the voting. Every subscriber of the MK-Advertising-Week-Expodata-newsletter may cast a vote and has until the end of the week to do so.

In the three supreme disciplines of emotional marketing, the brand with the crown is right at the top. Omega has a lot of catching up to do, but Rolex also still has potential.

In the golden world of luxury watches Rolex is the undisputed queen. This position does not come by chance. For example, a comparison with rival Omega clearly shows how refined the brand emotionalizes with the crown. This is crucial. After all, customers don't buy a luxury watch (just) to tell the time, but to get a certain feeling.

Key Findings:

1. Rolex meets the gold standard better. However, one essential aspect is still too weak.
2. Rolex triggers more emotions than Omega (as a brand and through its touchpoints).
3. Rolex also conveys a more consistent emotional brand image (stringency from touchpoint to touchpoint). But there is potential for optimization for both manufacturers.
4. The clearest weak points are the campaign for Rolex and the points of sale (POS) for Omega.
5. The two famous ambassadors support the respective brand emotionally once partially and once practically not at all.

Customers want security, status and inspiration from a watch in this price segment. While Rolex caters to two of the three desired emotions (security and status), Omega only plays up one of the three longed-for sensations (inspiration).

Watches - properly emotionalized - can help fans and potential customers reach emotional heights. Depending on the brand and its history, watches can become very personal and close companions. Rolex masters this discipline significantly better than Omega. And not only with the brand, but also across all touchpoints.

Conclusion of the EmoCompass study Focus

Rolex is the winner in all three disciplines. But it's not just Omega that has a lot to do; the market leader could also further exploit its emotionalization potential.

For reasons of differentiation, both brands would probably do well to stick to their respective emotional profiles. Although they only meet parts of the gold standard today, they can position themselves clearly in the market.

Omega has a lot of catching up to do when it comes to emotional volume. The best way to do this is to emotionalize touchpoints - and to do so where all the senses play a major role. That's why rethinking the point of sale could be a winning strategy.

In addition, it is worthwhile for Omega to adjust all other touchpoints to its own brand emotions. However, this also applies, in a weakened form, to Rolex. For example, when using famous (and expensive) personalities to promote its own products. The results of this study show sobering results with regard to brand fit. When choosing ambassadors, it is also important to pay attention to the emotional fit to the brand (best practice example: George Clooney at Nespresso).

For the further development of one's own brand, it is also worthwhile to look at the emotional positioning and classification of other watch brands such as IWC, Patek Philippe, Breitling, and so on. In addition, it is always valuable to examine what can be learned emotionally from other product categories and industries. After all, the consistent transfer of best practices across companies and industries, combined with the new knowledge around brain and emotions, leads to the most effective customer experiences.
 

Tens of thousands of predominantly young people have taken to the streets in Germany to protest against the planned reform of EU copyright law. Three days before the decisive vote in the EU Parliament, they demanded above all the deletion of Article 13.

In future, platforms such as YouTube are to check whether content contains copyrighted material as soon as it is uploaded. Critics fear that this will only be possible via automated filters, which could be tantamount to censorship.

There were protests against this in numerous countries across Europe on Saturday - and by far the largest in Germany. According to the police, around 40,000 people took to the streets in Munich alone under the slogan "Save your Internet", while the organizers said there were more than 50,000. "Don't destroy our Internet" and "The Internet stays as it is" were the slogans on the posters.

In Berlin, the demonstrators marched past the German Wikipedia headquarters to the Brandenburg Gate, chanting "Stop censorship" and waving banners. The police spoke of more than 10,000 participants, the organizers of 30,000. Thousands were also on their feet in Cologne, Düsseldorf, Hamburg, Stuttgart, Leipzig and other cities. The "Save your Internet" campaign had called for the protests.

The EU Parliament is to vote on the copyright reform on Tuesday. It is intended to adapt the outdated copyright law in the EU to the Internet age.

Negotiators from the EU Parliament and the EU member states agreed on a compromise in mid-February. Among other things, it provides for an ancillary copyright for press publishers and - in Article 13, which is now Article 17 in the current version of the legal text - significantly more copyright protection obligations for platforms such as YouTube.

Critics fear that platforms such as YouTube can only comply with the requirements if they use upload filters to check whether images, videos or music are protected by copyright when they are uploaded. This leads to censorship because the filters also block legal content such as quotes, parodies or satire.

Supporters of the reform believe these concerns are unfounded. CDU European politician Axel Voss, who was in charge of negotiating the compromise with the EU member states on behalf of the Parliament, emphasized that it was ultimately up to the companies to decide how to implement the directive.

"This is about the hard-nosed economic interests of the large platforms, which convey to individual citizens that the freedom of the internet is in danger," he told the Rhenish Post. "But that's not true. Nothing is taken away from the individual." (SDA)

The demonstrators in Germany, on the other hand, received support from the SPD: a European convention of the party in Berlin decided to oppose the controversial filters. With one vote against, the delegates voted in favor of supporting motions by the SPD group in the EU Parliament aimed at preventing upload filters.

Although the SPD is on the side of authors, creatives and artists, it is also committed to freedom rights in the digital age. Instead of filtering out videos and music, they should be paid in accordance with copyright law.

The Greens consider new negotiations to be a possible way out. Authors must be given an appropriate share of the added value of their works in the digital world, but there should be no barriers to the free exchange of opinions and flow of information, said parliamentary group leader Anton Hofreiter to the news agency DPA.

Around 260 publishers, newspapers, news agencies, broadcasters, production companies and media professionals, including the DPA, had called for support for the reform. They demand "a fair share in the content business in order to ensure a rich and diverse Internet in which information and culture have a firm place".

Photo: Henning Schlottmann - CC BY-SA 4.0

On Friday, the stock continued to rise in pre-market trading. Numerous analysts gave their thumbs up to the movie streaming service, which is to be presented at the company's headquarters in California on Monday and with which Apple wants to move away from its dependence on the iPhone. The smartphone, with which Apple revolutionized the mobile phone industry, has not been selling as often as it used to.

Insiders expect Apple to offer the video service worldwide, heating up competition with top dogs Netflix and Amazon.

The potential revenue from subscription fees for playing movies directly from the Internet has been the focus of investors for some time, as Apple's revenue fell five percent to $84.3 billion last quarter (ended Dec. 29) due to lower iPhone demand. According to insiders, Apple also wants to enter into cooperations with media companies in order to expand the service offering even further.

Apple could secure annual revenues of seven to ten billion dollars through its TV offering, explained analysts at brokerage firm Wedbush. The announcement of a video service is also possibly only the prelude to a larger transformation for Apple this year.

JP Morgan analysts expect that the new offering could attract more paying customers to the existing music streaming service. This could significantly increase revenues. Experts at brokerage firm Nedham also see the TV plans as a step in the right direction. They upgraded Apple shares to Strong Buy from Buy and raised their price target by $45 to $225. (SDA)

Photo: Apple

Lacher-Dumas Communications is an owner-managed communications agency that covers all areas of communications in-house. Its clients range from energy companies and financial service providers to computer manufacturers and construction companies. Hans-Peter Lacher is handing over the management of his successful agency to new hands. As Chairman of the Board of Directors, he will continue to provide strategic support to the new agency and look after long-standing clients as well as his large network.

As a creative full-service agency, Gruber & Ianeselli stands for the conception, consulting and implementation of all areas of modern marketing communication, from local poster campaigns to major polymedia events for global clients.

The merger further strengthens Gruber & Ianeselli's position as an up-and-coming agency and enables it to meet client needs in the areas of marketing and advertising even better in-house. The management team will continue to consist of Alessandro Ianeselli (CEO) and Fabian Gruber (Creative Director). The 15-strong agency will be based at the current headquarters of Lacher-Dumas Communications at Lindenstrasse 28 in Zurich's Seefeld district.

With good reason, as Alfred Escher was, among other things, Chairman of the Board of Directors of Kreditanstalt. Thanks to their guarantee, Conrad Widmer was able to found Schweizerische Lebensversicherungs- und Rentenanstalt in 1857, which has been called Swiss Life since 2004. The fact that Swiss Life is now able to support its customers in leading a self-determined life with individual pension and financial advice is also thanks to Alfred Escher's extraordinary life.

The motif appeared prominently on the first inside page of the NZZ special supplement "Escher". It is the latest motif of the new Swiss Life brand identity, which is currently nominated for the Crossmedia Award.

The Creative Week once again featured top-class speakers: Dörte Spengler-Ahrens, Christian Behrendt from Google, Tom Hidvegi from Coca-Cola, fashion designer Henrik Vibskov, creative evangelist Marie Reig Florensa and the Swiss musicians Steff la Cheffe, Stereo Luchs and Phenomden delighted the many students as well as the professional audience. The week kicked off with a special screening of Hermann Vaske's "Why are you creative?" at the Toni cinema. The program also included a panel discussion with leading women in creative professions: actress Tonia Maria Zindel, advertiser Regula Bührer Fecker, slam poet Patti Basler and Carola Wahl spoke on the topic of "More Risk, More Fun".

The annual judging of the Art Directors Club Switzerland, the Swiss championship of creative communication, took place over two days at the same time. Under the direction of ADC Switzerland President Frank Bodin, a total of 128 jurors discussed and evaluated 518 submissions in 18 categories. 91 submissions made it onto the shortlist. Of these, 38 were awarded a bronze cube. Silver and gold were then decided on the second day by 27 jurors, including guest of honor Christa Rigozzi: In the end, 9 submissions were awarded a silver cube and 8 submissions were awarded the coveted gold cube, the hardest Swiss creative currency.

The "50 Years of Big Mac" campaign by McDonald's Suisse Restaurants Sàrl from the TBWA\Zurich agency was awarded four gold cubes. The work, consisting of an amazingly simple idea that was brilliantly implemented in 50 motifs, was so appealing to the ADC jury that it won gold in the categories of posters, illustration, art direction and campaigns, making it this year's big winner.

Jung von Matt/Limmat is delighted to receive two Gold Cubes. The learning app "A Touch of History", developed on behalf of the client Samsung, is an incentive for children to engage with history. The app also impressed the ADC jurors in the Digital category. The idea "War Sirens" for the client Amnesty International was also awarded gold in the Creative Media category. During the siren test, bomb blasts in Yemen were played on the radio - an impressive way of bringing the reality of a war zone closer.

Swiss Life, another major Swiss client, won gold in the advertising category with the work "Customer for 100 years" by the Ruf Lanz agency. In honor of its oldest customer, Swiss Life had the NZZ published with the front page from the day of its birth, June 7, 1917. Not only a wonderful idea, but also the best proof that excellent newspaper advertising can still attract a lot of attention.

Pro Infirmis and its agency Thjnk Zurich also won gold in the film category. This touching spot with the central idea "Everyone is equal. No one is more equal." brings life with disabilities closer to us in a wonderfully relaxed way.

The importance of creativity in the digital society is an ongoing topic. On the one hand, there is the fascination with new technological achievements such as programmatic advertising, performance marketing, big data, artificial intelligence and so on. On the other hand, more and more clients are realizing that it can be fatal for their marketing communication if they forget to discuss the content and quality of communication due to the digital transformation. Frank Bodin comments: "Numerous gold and silver campaigns are examples of how content can be communicated more effectively and efficiently in digital media thanks to creativity. I can only recommend that everyone in our industry - agencies, clients and young creative talent - take a close look at these cases."

ADC Switzerland improves advertising and thus the return on investment for clients not only by discussing and evaluating campaigns. These include the Ad School - an extra-occupational CAS for creatives and strategists -, the Young ADC for the best talents and, in particular, the cooperation with the Zurich University of the Arts. In this context, the gold jury also had to evaluate the submissions from students. The jury members were delighted: four student projects and diploma theses were nominated. The "Student of the Year" award ultimately went to Adrian Graf for his extremely innovative work "A Guide To The Apocalypse".

A lot has happened since the start of the first MAZ basic course in 1984: The Internet was invented, smartphones, Facebook and Twitter. And the media industry has been shaken by strikes, "waves of consolidation" and mass redundancies. And yet, year after year, the MAZ continues to train journalists in the diploma course in journalism - the further development of the basic course. Young professionals who stand for self-confident, strong journalism.

"We don't do everything, but what we do, we do well. That is our promise," said Diego Yanez, Director of the MAZ, in his welcoming address. Over the past 35 years, the MAZ has never stood still, but has constantly evolved, ventured into new areas and improved tried and tested ones. And it has never lost its focus and proximity to practice.

Res Strehle, President of the Foundation Board, looked to the future and formulated 3.5 wishes (analogous to the 35 years of existence) in his speech. One of these wishes was directed at editorial offices and publishers. They should not cut back on the training and further education of journalists: "And I am not saying this in my role as President of the MAZ Foundation Board. I'm saying this as a daily reader and user of journalism in Switzerland." Because, Strehle continues: "Attitude and knowing and following the rules of the trade are more important than ever. They distinguish journalistic content from that on social media, at the regulars' table and in the pub".

A closer look at the sectors shows that almost all sectors have reduced their advertising pressure compared to February 2018. After two months, annual advertising pressure stands at CHF 1,059 million and is therefore still on course for growth compared to 2018, up 2.1%.

Advertising pressure in the overall market

Development of advertising pressure as at February 2019

No changes in the industry ranking

In a sector comparison, little has changed compared to the previous month of January. Leisure, gastronomy & tourism remain lonely at the top, followed by the service and vehicle sectors. The only shake-ups are at the bottom of the ranking, where Cosmetics & Personal Care, Events and Personal Supplies swap places.

Tendency towards lower advertising pressure - with some exceptions

Compared to the same month last year, gross advertising pressure has decreased in the vast majority of sectors. One of the major outliers was the TV & Home Entertainment product group (+76.2% year-on-year). This group of surprising winners also includes the tobacco industry, which increased its advertising pressure by an impressive 209.3% compared to the same month last year. However, this effort by the tobacco industry is not enough to get rid of the red lantern. The energy sector increased its advertising pressure by 13.5% compared to February 2018.

Initiatives and campaigns with the sharpest decline

Initiatives and campaigns (-26.2%), including the political campaigns product group (-53%), recorded the sharpest year-on-year decline in advertising pressure. This can be explained by the "No Billag" popular initiative of March 4, 2018, which was heavily discussed and advertised at the beginning of last year. The beverage industry, which reduced advertising pressure by 25.6% compared to February 2018, and the food industry (-22.5%) also suffered significant losses. The retail trade (-18.5%) and transport companies (-18%) also saw a clear reduction in gross advertising pressure compared to the same month last year.

Advertising printing in the industries

Advertising pressure in the sectors with year-on-year comparison

Top 10 of the month

The top 10 advertisers and most frequently advertised products and services (excluding product range and image advertising) in February

Media Mix

The integration of search data, desktop (January 2017) and mobile (July 2017) into Media Focus's advertising statistics has led to a significant increase in the internet's share of the media mix. Since January 2018, search data has also been collected for French-speaking Switzerland (share of search: 85% DE/15% FR).

The CSS Design Awards are a global showcase for web projects that recognize innovation, UX design and interaction design. On Wednesday morning, the winners were announced by CSS and the Octoplus Group was ranked 6th in the international award in the category "Agency of the Year 2018". The win was based on the "CSS Website of the Day" awards won in 2018 for web projects for brands such as Mistretta, Charly Zenger and their own website.

"This important award crowns the year 2018, which we were able to conclude with great satisfaction, and also rewards the excellent work of our team and, above all, the trust placed in us by our clients. We are very proud to be the only Swiss agency among the top 10 agencies worldwide," explain the two founders of the creative agency Michele Crippa and Damiano Giannini. The agency, which is based in Zurich and Lugano, plans to continue its success and growth in 2019, according to a press release.

The network electricians are the secret heroes of the railroad companies. Thanks to them, line interruptions are short-lived. In addition, team spirit is central to this profession. To convey this closeness to the target group, interpunkt has developed a creative concept. The campaign motif shows the right vocational trainers who look after the young people in the company. For all 15 locations, a personalized motif was created that addresses the young people in the appropriate dialect.

To motivate young people to apply, the focus was on simplicity. The application process could be started via Whatsapp message or with an e-mail to the personal address of the vocational trainer. This uncomplicated contact minimized the inhibition threshold to get in touch. Anyone who wanted more detailed information about the apprenticeship could find all the details at www.mini-lehr.ch or Mon-apprentissage.ch. There, the vocational trainer greeted the page visitor in video format and directly invited him to sign up. The landing page was also implemented per location with the local vocational trainer.

The campaign was distributed with posters and via social media.