The Messeturm is one of the tallest office buildings in Switzerland and can be considered a landmark of a trade fair and art metropolis. How does it feel to work in an office with a view over the whole city? In spaces designed according to the "cradle to cradle" principle? In a vertical ecosystem that conserves resources through shared services and facilities?

"We want to position the Messeturm Basel as a sustainable powerhouse for art, business and encounters. With Matchcom, we have the right partner for creative real estate communication at our side," says Katharina Schwiete, the Swiss Prime Site Immobilien asset manager responsible for the Messeturm.

In close cooperation with the owner and CBRE Switzerland, Matchcom developed a multimedia campaign. This is intended to make the new lifestyle perceptible, tangible, and tangible for everyone via various channels.

Together with the production company Hillton, the agency realized an image film that takes viewers on a search for the most extraordinary workplace in the city of Basel. "Our measures focus on the sensual experience of a personal and global awareness of sustainability," explains Sumaia Youssef, Senior Account Manager at Matchcom.

Matchcom has created a further experience value by organizing two live events: A grand reopening celebration with office tour, catering and live music for invited guests, and an open house with tours for all interested parties. A completely new branding, social media activities and the renaming of the lobby bar complete the campaign.

Responsible at Swiss Prime Site Immobilien: Katharina Schwiete. Responsible at CBRE Switzerland: Sybilla Glutz. Responsible at Match Communications: Christian Staub, Sumaia Youssef, Corinne Amsler.

This year, the ADC*E would like to present under the title of "Creating Visibility" Presenting people and organizations who are taking a leadership position and using creativity as a superpower to create a more livable world for all. The online event includes three panels with eleven speakers:

The first panel will start at 3 p.m. and will focus on European creativity. ADC*E President Alexander Schill will speak with Hermann Vaske, director, writer and producer of the acclaimed "Why Are We Creative" and "Why Are We (Not) Creative." The panel discussion will also include presentations by Michelle Nicol, co-founder and curator of Neutral Zurich, partner at KesselsKramer.

The second session, titled "How to Enact and Accelerate Change in the Creative Industry," will feature four initiatives that are leading the way in the transition to more purposeful and accountable creativity:

• "Purpose Disruptors" - a network of advertising insiders working together to transform the creative industry to combat climate change.
• "Clean Creatives" - a group of creatives who are looking at how the advertising and PR industries work with fossil fuels.
• "Creatives for Climate" - a collective of individuals committed to using their power, platform and influence to advance meaningful climate action.
• "Creatives for the Future" - a platform of creatives and communications professionals working to put sustainability at the center of business decision-making.

The closing panel discussion, titled "New Fields of Creative Visibility," will include presentations by People Tree founder Safia Minney, who recently launched "Real Sustainability" to promote sustainable living and leadership. Also featured is Luca Pannese, co-founder and executive creative director at Small New York, and artist Joana Vasconcelos. All presentations will be given by Julia Nicolaisen, Head of Sustainability Management at Serviceplan.

The festival will culminate in the announcement of the ADC*E award winners. The ceremony will also see the unveiling of the new ADC*E trophies, which the Oiko Design Office has redesigned from recycled plastic to mark the 30th anniversary of the awards.

Aline Bassin has already been with the business department of Le Temps active. Previously, she worked as a radio journalist at RTS. As the new head of department, she wants to "take the pulse of the Swiss economy," as she says in a statement from Le Temps is quoted.

Valère Gogniat, the former head of the business department, is now responsible for the "Events" section of Le Temps.

For the past four years, Aline Jaccottet has been a correspondent for Le Temps in Israel and the Palestinian territories. She is now in charge of the "International" section and wants to use "lively and inclusive narrative journalism" that "brings close what seems far away," according to the statement.

The Falstaff culinary lifestyle magazine has a total circulation of over 140,000 copies. Now Falstaff also wants to position itself in the global world of gourmet food as a strong brand around the topics of wine, travel, culinary, luxury, and lifestyle. In the course of this further development, innovations are also planned in Switzerland.

In this country, Falstaff has been distributed as an independent magazine since 2014. In 2020, Falstaff Switzerland was the best-selling magazine in the wine and culinary category on the Swiss magazine market for the fifth year in a row.

Now another expansion is on the horizon, which is the responsibility of Philipp Bitzer. The experienced publishing professional took over the management of Falstaff Switzerland from Nicole Steffen at the beginning of November 2021. Also new to the management team in Switzerland is Sophie-Marie von Haugwitz. Born in Austria, she has extensive experience in international wine marketing and will support Bitzer in marketing and key account management as Director of Marketing for the growth strategy in Switzerland. Among other things, the publication rhythm of Falstaff will be increased to ten issues starting in 2022, according to a Falstaff press release.

Philipp Bitzer was born in 1967 and studied humanities at the University of Zurich. He came into contact with the media world at a young age and wrote for various publishing houses. After a professional detour into the world of the moving image, he moved to Neuchâtel around the turn of the millennium, where he was department head of "Expo.02" under Martin Heller as well as the Palépo founder and current mayor of Nyon, Daniel Rossellat. From 2003, he returned to German-speaking Switzerland and, at the same time, to the media world, and since then has managed several Swiss trade publishers, focusing in particular on the subject areas of construction, living and furnishing, as well as gastronomy and the hotel industry. In 2018, Bitzer took over the publishing and journalistic management of Marmite Verlag in Zurich, where he was responsible, among other things, for the popular magazine Marmite, the professional publication Marmite Professional as well as the "marmite youngster" gastronomy competition.

Sophie-Marie von Haugwitz was born in Austria in 1991 into an Austrian wine family and thus rooted in the Austrian wine world from childhood. She completed her studies in Business Management at King's College in London. In London and Singapore, she was responsible for wine listing in top gastronomy for several agencies. In 2018, she moved to Germany to join Wein & Vinos in Berlin. As product marketing manager, she developed communication and sales concepts in wine marketing. Before joining Falstaff, she developed a digital marketing strategy for Cascade Edel Hausrat in Lucerne, among other things.

In October 2020, Credit Suisse launched CSX, its digital banking offering, in response to changing client needs and a market environment in which "mobile-first" solutions are becoming established at an increasingly rapid pace. CSX is said to combine the simplicity and flexibility of neo-banks with the expertise and service offering of a major bank. One year after its launch, CSX is considered the best-known Swiss brand for digital banking in Switzerland: Every second person knows the name, as shown by the Neo-Bank Study and the HSG Swiss Payment Monitor.

Rapid growth, lively use

Since launching CSX just over a year ago, the bank has seen a tripling of downloads of its online banking app and a doubling of account openings in Switzerland. For Credit Suisse, the level of activity among clients is confirmation that CSX is reaching the digitally affine, younger target group very well: Half of the now more than 100,000 CSX clients are younger than 34.

Customer feedback central

The CSX Offering was designed from the outset with customer needs in mind. These needs would continue to be consistently involved in product development. Since October 2020, the digital offering has been continuously expanded with new services, functionalities and strategic partnerships, which should further increase the attractiveness of CSX and lead to a unique positioning in the market.

If companies want to reach the customers of tomorrow and win their trust, they have to be where the young are. On the web. But Generation Z can no longer be inspired by classic marketing measures. They speak a different language. And that's exactly what Yael Meier and Jo Dietrich are doing. With the Zeam agency, where only people under 25 work, they help customers bring products and services to potential target groups. And with great success.

In the "Off The Record" podcast, the two young entrepreneurs talk to Anna Kohler about how to inspire the young target group - and reveal exclusively what the new "Zeam Force" feature is all about.

The podcast of Werbewoche and m&k with Anna Kohler is produced by Tablecast / Christoph Soltmannowski.

In the past few days, the Epica jury has once again sifted through, analyzed and evaluated the submitted projects via online voting. After the Corona shock of 2020 with only 1980 submissions, there was an upswing again this year - 3184 projects were submitted, which is close to the level of 2019. With around 206 submissions, most entries came from the United States, followed by Germany with around 200 submissions. In terms of agency networks, McCann Worldgroup, BBDO and Wunderman Thompson were particularly well represented.

This year, 51 submissions came from Switzerland. Seven of them have made it onto the shortlist. TBWA\Zurich is nominated five times, with work for Porsche, SBB and Terre des Femmes. Wirz is nominated in two categories with her viral hit "No Drama" for Switzerland Tourism. The nominated entries are currently being evaluated by the Grand Jury in a second online voting round.

Gold and Grand Prix winners will be recognized during a special online ceremony on December 9. Silver and Bronze winners will be announced the following day on the Epica Awards homepage.

Regi Sager joined what was then DRS 1 on May 1, 1996, and for the 25 years she hosted all times of the day: from morning primetime to morning, afternoon and evening programs. In recent years, she also specialized in the "Country Special" on Radio SRF 1. Now the 63-year-old is taking early retirement. On December 2, 2021, Regi Sager will once again be a guest on Radio SRF 1 in a special broadcast to mark her farewell.

"Being able to feel the pulse of the times on different levels every day was one of the most exciting things during my 25 years at SRF. Being able to accompany people in their everyday lives was one of the most satisfying things. And one of the most beautiful things: the many unforgettable encounters and the friendships that have grown out of them," Sager was quoted as saying in a statement from SRF.

Tina Nägeli returns

Former SRF 3 presenter Tina Nägeli will take over Regi Sager's post on December 1, 2021. "For me, SRF 1 is a childhood memory and a new radio home rolled into one. I'm extraordinarily looking forward to working with the entire team and to doing radio again soon," Nägeli says.

The answer is, of course, that it depends. A six-part podcast season can cost 12,000 francs, but it can also cost 45,000 francs. But what does it depend on? What are the factors that make a podcast cheap or expensive? And what is the price range for a well-made podcast? The Podcastschmiede creates transparency and answers these questions in a detailed article.

Numerous companies and organizations have noticed this year that having their own podcast is worthwhile - including Advertising week m&k is connected with the in-house podcast "Off The Record in the process. With hardly any other medium, the audience still takes 15 minutes, 30 minutes, even an hour to delve into a topic or be taken on a journey. But podcasts manage that. Listen-through rates of 70 percent are not uncommon, even with long content. As long as the content is well done.

This doesn't have to be expensive, says Podcastschmiede founder Nico Leuenberger: "Many organizations produce their podcasts in-house. The equipment is affordable, that's all you really need. Except a flair for audio storytelling and time. A lot of time if you want it to be good." Because many organizations don't have that time and still want a high-quality podcast, they like to use agencies.

The money question comes at the very beginning

"One of the first questions they have when they contact us is always, 'How much is this going to cost us,'" says Leuenberger. To which he always has to elaborate a bit. There are five factors that determine the price. And the customer has an influence on each factor.

Factor 1: The concept. Does the customer already have a clear idea of the podcast? Or do they want the concentrated creativity that a podcast workshop can unleash?

Factor 2: The format. Talk podcasts are produced much more quickly than elaborate reports. And single episodes have less impact than a serially told story with cliffhangers that invite binge-listening.

Factor 3: The number of episodes. Will a short season be produced or a year-long format that appears every week?

Factor 4: The sound design. Is there already an audio branding? Does the podcast use purchased music or does the agency compose a distinctive melody?

Factor 5: Distribution. The most beautiful podcast will not be heard if it is not publicized. What platforms, what newsletter distribution lists, what magazine circulation does the client have? Will they run ads on Google or audio ads on Spotify?

Learning to appreciate the value of audio communication

"When they place an initial request with us, many have no idea what a podcast costs," says Leuenberger. If a quote then follows, the reactions are very different: Some are used to the costs of video productions and are then pleased to note that they can definitely save money with a podcast.

But others would overestimate the price difference and imagine a podcast too cheap: "We then show them how much work and passion is behind a good podcast. And we can provide good evidence of the impact podcasts can have. Then they quickly realize: it's worth it."

The detailed article can be found on the Website of the Podcastschmiede can be called.

Would you like to be included in our Listen to the "Off The Record" Podcast? Anna Kohler has already talked to several personalities from the communications and advertising industry - and there are many more to come.

As a specialist in programmatic digital advertising, the Gamned agency is actively engaged in disseminating its expertise. In addition to annual programmatic studies, which tend to analyze the evolution of the Swiss market in the use of digital advertising, Gamned also regularly tests the level of knowledge of advertisers, agencies, publishers and general advertising professionals, beginners and experienced, in this field. For this purpose, in September the agency had launched the "Culture G! Quiz" was launched.

Over 100 advertising professionals in the Quit answered 20 questions on all the major topics that have moved the market in recent months - format developments, GDPR, cookies, responsible advertising and more. The average rate of 11 correct answers points out: Although programmatic advertising is on everyone's lips, there are still a lot of ambiguities and questions in this area.

Advertising formats are known, environments less so

More than 72% of the respondents were able to name all formats in which videos can be activated. This indicates that video is an important element in the communication strategy of Swiss brands.

In contrast, however, only one in four was able to correctly name environments in which "programmatic audio" can be activated. 50% of the respondents at least correctly named the various programmatic DOOH placements available - these include streets, airports, SBB train stations, gas stations, shopping centers, post offices and others. Broadly speaking, this is an indication that the ecosystem is not yet aware of the full range of opportunities that programmatic offers.

Lack of knowledge about regulatory developments

Fraud, Attribution Window, new iOS versions, the disappearance of third-party cookies, promises about Universal ID - only 30% of respondents were able to provide correct answers to questions on these topics. This shows that the ecosystem lacks understanding and information about new tools and regulatory developments in the past and in the future.

Acronyms are widely used

However, the study also shows that 62% of the respondents are very well informed in terms of their knowledge about acronyms such as CPCV or VCPM, as well as about the penetration rate of Internet use for television.

Budget causes difficulties

But what the study also reveals: Only 25% of advertisers are able to correctly estimate the budget for Programmatic in 2021.

Declining Overall Average for the Swiss Advertising Ecosystem...

Previous editions of the quiz produced better results, but also showed potential for improvement. For example, in both the 2018 and 2019 editions, an average of 13 out of 20 questions were answered correctly. However, the results of the 2021 vintage show that the ecosystem is in urgent need of support on various topics related to digital advertising, including basic aspects. A phenomenon that is mainly explained by the fact that new topics in the field of programmatic marketing - DOOH, developments in video, tracking, developments in social media, etc. - are becoming more and more complex and multi-layered over time and in line with technological and regulatory developments.

... but still a good cut on the global Programmatic marketplace

Gamned has taken the same quiz in the foreign markets where it has offices. Compared to the other regions tested (Brazil, Belgium, MEA, Malaysia), the Swiss advertising ecosystem is in the upper range with +1 points, despite the overall average decreasing.

Here go to the factsheet of the "Culture G! Quiz".

At the end of the year, the European Marketing Confederation and its member Swiss Marketing are launching a survey for Switzerland to ascertain the focus areas and projects for the coming year in marketing 2022 across Europe.

This year, the "Marketing Agenda 2022" would again like to find out from participants what their companies will be focusing on in the following year, and which topics will gain relevance. What will be the challenges and barriers to be overcome in marketing in 2022?

The study is designed to provide insights into strategies, processes, challenges and requirements for the coming year. The results of the study provide a basis for further surveys.

The study lasts five minutes and is aimed at CMOs, marketing directors and marketing managers. As a cooperation partner invite Advertisingweek.ch and m&k cordially invites its readers to participate in the industry study.

Click here for the industry survey!

Founded as the "Seidentrocknungsanstalt Zürich" in 1846, Testex now has around 30 branches worldwide after 175 years. Now the company is online with a new website.

Content for the entire textile supply chain

Gold Interactive redesigned the website's design and content. The result is a website whose content is geared towards the target groups of the entire supply chain, from brand to manufacturer.

Visitors from Testex.com no longer have to fight their way through PDFs with technically demanding texts, but can quickly find the information they need thanks to the fresh design and comprehensible content.

More leads through simplified processes

Gold Interactive has optimized the user experience and greatly simplified the customer journey: Potential customers can reach their contact person with just a few clicks - and Testex thus becomes the lead. By linking the website and CRM system, Testex can serve existing customers more easily and personally, thus improving customer loyalty.

Responsible at Testex: Corinne Blumer (Group Marketing Officer; Project Manager), Marc Sidler (Group CMO), Jenny Michel (Marketing). Responsible at Gold Interactive: Chris Lalive d'Epinay (Concept, Project Management), Meret Küng (Design), Ramon Schuhmacher (Frontend JS) and Jonathan Beck (Frontend Styling), Christian Ruhstaller (Backend), Danijel Kelava (Backend), Fabio Bolognese (Content and UX Writing).