As they write in a release, independent online portals such as. Tsueri in Zurich, Bajour in Basel and the supra-regional portal Republic Role models. The goal of the crowdfunding campaign is to gain 1,000 subscribers within a month. Once this goal is reached, the initiators consider the demand to be proven.

The Capital but does not start with 1000 subscriptions yet: In addition, start-up financing is necessary. According to the announcement, the initiators of the planned portal are in contact with various supporters, who make their commitment dependent on the success of the fundraising campaign, among other things.

The initiators of the project are Marina Bolzli, Joël Widmer and Jürg Steiner. Bolzli is a cultural journalist and author, Widmer worked among other things as editor of the Swiss Federal Parliament and media spokesman for Greenpeace. Jürg Steiner wrote for 20 years for the Bernese Newspaper.

Team of fifteen

To the today fifteen-member Capital-But the team also includes people with IT, social media, fundraising and business management skills. If the start is successful, the Capital with five full-time positions.

The fact that recently the two Bernese daily newspapers The Covenant and Bernese Newspaper produced by a single editorial team was, according to the CapitalThe project was given the "indirect go-ahead" by the project's creators. The aim is to counteract the loss of media diversity in Bern. The plan is to provide "understandable, accessible, persistent and constructive local journalism.

Several well-known actors of Bern give on the website of the Capital already indicated their intention to buy a subscription. These include Bern's city president Alec von Graffenried, crime novelist Christine Brand and cyclist Marlen Reusser. (SDA)

Accenture Interactive, which operates in the field of customer experience, is part of Accenture. The agency combines creativity and digital service design with experience in consulting, digitization, technology, development, marketing and communications.

By combining a deep understanding of people and markets with technological expertise, Accenture Interactive develops, delivers and realizes customer experiences. The goal is to achieve a better, more value-added and meaningful customer experience.

Accenture Interactive ranks first in the Ad Age Agency Report as the world's largest digital agency and is rated by Fast Company as one of the most innovative companies. The agency has offices in Switzerland in Basel, Bern, Geneva, Lugano and Zurich.

Also part of Accenture Interactive in Switzerland are SinnerSchrader with the mobile studio SinnerSchrader Swipe, the innovation and design consultancy Fjord, the creative and technology service provider Wirestone, and the agency Boomerang.

The Edi. will again be held in 2021 by the Swissfilm Association, under the patronage of the Federal Department of Home Affairs. This year's submissions were judged by two different jury teams: The Shortlist was juried online and the Best Award was juried live.

The most important evaluation criterion is the audiovisually convincing implementation of the communication assignment. The script, direction, picture, sound and editing must therefore "form an artistic unit that does justice to the content conveyed and implements the client's task for the production in a meaningful way. A winning film must demonstrate absolute excellence in all film disciplines.

According to the Swissfilm Association, many very good works were submitted again in 2021. The following 46 were able to secure a place on the Edi.21 shortlist.

The Swiss Poster Award honors design and creative work. The competition for analog, digital, and innovative outdoor advertising, organized by APG|SGA, underscores the strength and importance of the poster medium in comparison with other media and offers participants an opportunity to draw attention to themselves.

In a call-to-action, APG|SGA is now inviting all creatives, agencies and companies to show their extraordinary and imaginative campaigns. The works will be nominated by an 18-member jury of experts from advertising, culture and design.

"The Swiss Poster Award creates attention for Switzerland's most popular advertising medium like no other prize: visibility for the clients, visibility for the professionals, but also for the general public," Christian Brändle, jury president and director of the Museum für Gestaltung Zürich, was quoted as saying in a statement from APG|SGA. "Special achievements in special times deserve special recognition. That's why all creatives are invited to demonstrate their skills at this prominent competition to win one of the coveted awards."

Six categories

Gold, silver and bronze are awarded in a total of six categories. The centerpiece is the "Poster of the Year" award for overall victory across all categories.

The "Commercial National" category includes poster campaigns of national impact with postings in at least ten cantons and/or the five largest cities - Basel, Bern, Geneva, Lausanne, and Zürich.

In the "Commercial Local and Regional" category, poster displays with local and/or regional characteristics can be submitted.

"Public Service" includes all posters of charities, politics and public institutions, "Culture" any posters for cultural institutions or occasions such as theaters, museums, exhibitions or festivals.

The "Out of Home Innovations" category honors new ideas and implementations in the field of commercial outdoor advertising. And finally, any animated digital advertising material with images or text that is played out on screens of at least 55 inches can be submitted in the "Digital Out of Home" category.

November 30 is the deadline for submissions

Participants can submit their campaigns free of charge at Swissposteraward.ch until November 30, 2021. The shortlist of the best works will be announced in January 2022. The award night is scheduled to take place in March.

Winterhilfe alleviates the effects of poverty in Switzerland by relieving tight household budgets and addressing emergencies through targeted assistance. And it has been doing so for 85 years. In the past fiscal year 2020/2021, more than 50,000 people received benefits amounting to 7.5 million Swiss francs from Winterhilfe. To finance its work, Winterhilfe relies on donations.

The centerpiece of this year's campaign by Studio Thom Pfister is a 15-second animation that points out that there are people in need of support in Switzerland as well.

The campaign was launched nationwide on Monday and will be streamed via YouTube, Facebook, Instagram. In addition to the Winterhilfe Schweiz campaign, the Geneva cantonal organization is launching the slightly adapted animation as a TV spot on Léman Bleu.

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Responsible at Winterhilfe: Monika Stampfli (Managing Director Winterhilfe Schweiz), Esther Güdel (Communication Winterhilfe Schweiz), Florence Regad Buholzer (Responsible for Marketing and Communication Suisse Romande). Responsible at Studio Thom Pfister: Thom Pfister (Creative Director), Ursula Rytz (Consulting & Text), Kim Wüthrich (Graphic Design & Animation). Online Marketing: Sandro Jungi (Clockwork Digital).

De Schepper has been in this role since 2015 and Siegrist since 2020 for the Swiss Illustrated as Ringier Axel Springer Switzerland announced on Tuesday.

From 2013 to 2019, the 49-year-old Binggeli was editor-in-chief of the Annabelle, she previously held various positions at the magazine. For the Swiss Illustrated she worked as an editor from 1997 to 1999.

"With many years of experience and a broad network, Silvia Binggeli is ideally suited for the challenging task," Alexander Theobald, CEO of Ringier Axel Springer Switzerland, is quoted as saying in the statement. Bingelli is to lead the Swiss Illustrated in terms of both journalism and personnel. The editorial team currently has 48 permanent employees.

De Schepper remains at Ringier

De Schepper will continue to work for Ringier, according to the statement. He will be chief author of consumer magazines and will be responsible for publishing projects of the publishing house in the future.

Siegrist had also been offered another management position in the company. However, talks about her future activities are still ongoing. (SDA)

Anna Kohler: First of all, for general explanation. What is the Gisler Protocol, Nina Bieli?

Nina Bieli: The Gisler Protocol is an initiative for a more multifaceted portrayal of gender in advertising. We have it around Women's Day on March 8, 2021 launched and called on the entire Swiss agency industry to join in. This has worked. The Gisler Protocol is growing and thriving.

 

You both work for one of the most renowned agencies in Switzerland. Have you swept your own front door?

Annette Häcki: We looked at countless commercials and cases, including our own. The result was sobering.

 

That bad?

Häcki: Yes, so bad. Role clichés galore, many relating to men and women. It has to be said: Diversity is, after all, a huge field. So that our protocol doesn't get watered down, we focus on the multifaceted representation of gender. It's about language, how do we talk. It's about who we work with and what we show. We have worked out concrete rules with the Gisler Protocol. But it's not about pointing the finger at others, but about doing things better together.

 

Have you met with approval from the male guild?

Bieli: Absolutely. The point of the Gisler Protocol is to raise awareness. And not about "women versus men. The wealth of facets that society offers is not reflected in advertising. That's a fact. We didn't have to discuss much there. What there has certainly been, but not necessarily only from men, is the question of how such an initiative looks to the outside world. But here, too, we are convinced that the initiative is being understood correctly: We see it as a great learning process;
thus the whole loses the educational character.

Häcki: Sure, there are bound to be a few quips about the Gisler Protocol. But we take that with humor.

Bieli: After all, the Gisler Protocol is not a doctrine.

Häcki: And it's not just about women. Men are also portrayed in a stereotyped way. For example, the dorky father who always does everything wrong.

"Given the relevance and timeliness of the topic, it was immediately clear that we would support the initiative." - Aroma

Why Gisler protocol?

Bieli: The word protocol has meaning and signals: We are serious, also about implementation. And Gisler, because the protocol is named after Doris Gisler. She used to be very active with her advertising agency Gisler & Gisler and, among other things, designed and implemented the campaign for women's suffrage from 1969 to 1971. Thus, she is one of the pioneers for the topic. We asked Mrs. Gisler if we could use her name. She was very pleased.

 

You wanted to do that from the beginning with other agencies together. Why?

Häcki: It's more important to us to make an impact than to make our mark.

 

What are the key points of the Gisler Protocol?

Bieli: The first point concerns language, in the written and spoken word. How do we speak, how do we speak inclusively? Then it is the representation, what images do we show? Are the same stereotypes reproduced over and over again? And we sensitize our customers, but also external partners.

 

You have examined over 50 films and campaigns, and the Bechdel test has played a role in this. What can one imagine by this?

Häcki: The Bechdel Test is a test to identify stereotyped portrayals of women in films. Films are tested on the basis of three questions: The first is: Are there at least two women in the film who have a name? If no: test already failed. The second question is: Do the women ever talk to each other? If no: failed. If yes, we go one step further. And then the third question: when they talk to each other, do they talk about anything other than men? It's so blatant how many films fail there, even huge Hollywood productions. The entire "Lord of the Rings" trilogy, for example, fails completely.

 

Together you have your own Test developed, based on the Bechdel test. This has something to do with of a potted plant.

Häcki: One problem is that the women in commercials are often not important. We swapped out the women with potted plants and looked at what that does to the story of the spot. We looked at a lot of spots from the last five years. In a great many, we could easily replace the woman in the spot with a potted plant and the spot continued to work as before. That's brutal.

 

And in no way forms the real Life off.

Häcki: Exactly. In real life, we're further along than in advertising, and that's what bothers us. We're lagging behind.

"In our profession, we have the opportunity to make diversity present with stories; text and images should reflect that." - Open Up

How do the commissioning parties react to the Gisler Protocol?

Häcki: Very open and positive. The fact is: Our clients don't demand clichéd campaigns. Often it's us as agencies who present clichéd ideas in advance. And often no one objects - because it has always been the case that "he" drives the car and "she" enjoys the yogurt. At the end of the day, of course, we are guided by the needs of our customers. But we try not to start off in such a clichéd way. That helps.

 

Nina Bieli, you are the communications manager with Jung von Matt Limmat. What feedback do you receive?

Bieli: Very good, fortunately. And also relatively much. There is a lot of feedback from the agencies that have joined the Gisler Protocol.

 

Which ones are there?

Bieli: They are KSP, Serviceplan, Wunderman Thompson, Aroma, Maxomedia, Liip, open up, Ogilvy, Newsroom Communication, Feinheit, Kingfluencers and of course all Jung-von-Matt agencies.

 

How did you contact and promoted the Gisler protocol?

Bieli: We linked everyone on LinkedIn and Instagram. This is how exciting conversations have emerged.

How would you describe the development describe since you have been using the protocol from the baptism?

Häcki: Internally, we already sense a lot of movement. People are reflecting, much more so than in the past. It's important to address things when they come to your attention. Every person in the agency is allowed to do that without being punished. We share this responsibility and have taken it upon ourselves to look.

Bieli: Our mindset has changed. We speak in a more differentiated way both internally and externally.

"Our agency is committed to increasing diversity and equality through targeted initiatives." - Wunderman Thompson

You launched the Gisler Talks. Are these moderated by you or is each time a different agency on the train?

Bieli: It's a challenge cup, so to speak. All the agencies involved organize a Gisler Talk at some point. In virtual and physical meetings, we plan the talks and everything else that can arise from the Gisler protocol.

 

You talk about it in the Gisler Talk, that role stereotypes are still firmly are anchored. You have prototypes worked out, so that one can Clichés quickly grasped and reconsidered. What are they?

Bieli: Among men, for example, there's the "one funny guy," very popular, often a comedian. That's also a theme, women who are funny often don't have it so easy. And then there are three men who are on the road together. In Switzerland, sometimes it's a German-speaking man, a French-speaking man and an Italian-speaking man, and they have fun together. Then there's "A man's gotta do what a man's gotta do," the cliché that the man sweats, the man creates, the man drives. And then there's the "mansplainer": when an advertisement calls for a person with expertise, it's very often a man.

Häcki: As soon as you need someone with expertise, then you get a man. And he saves or explains. And these are mostly men 50 plus. Women 50 plus don't appear in advertising at all, not even as a cliché. Maybe once as a grandmother, but then they're older again.

 

How do the prototypes look at the Women out?

Bieli: When it comes to stereotypes for women, there are three that are very common. One is the caretaker. She takes care of the child, the dog or a calcified coffee machine. That, for example, can also be women over 50. But funnily enough, it doesn't happen that often. Because she is either the mother or the grandmother. Then the quiet connoisseur who eats her yogurt. And then - something that fortunately doesn't happen so often anymore - the robber. The one who just goes somewhere
lolls and looks beautiful.

Häcki: With these categories, i.e. prototypes, you can actually already cover almost everything. If we take a close look at the caretaker, for example. She cares, but she can't really talk, and she likes to be shown in profile because she has to take care of something. And the quiet bon vivant can't talk either. The pure speech share of women in advertising is very small.

 

Now when advertising really how do consumers perceive the changes? and consumers? Whether that triggers resistance?

Häcki: I don't think you should underestimate people's openness to more diverse images. And: Often, you first have to cross a threshold for something to really stand out. Non-clichéd depictions will definitely attract attention because they are not often seen in advertising.

"We help shape the public image of women and men. Therefore, we have a responsibility to avoid stereotypical role models." - Maxomedia

How did your CEO Roman Hirsbrunner reacts? Was he there from the beginning?

Häcki: We had a clear plan that we proposed to him. And Roman fully supported it. We feel an extremely strong sense of trust. He and the entire management are behind it. That helps a lot, of course.

 

You now have your head in the Wind held and it blows. And you are measured against the Gisler protocol. That is, when Jung von Matt puts out a commercial that doesn't is "clean", then you will have something to get to hear. The bar hangs up high in any case.

Häcki: That's guaranteed to happen to us sooner or later. And then it's like, "Hey, Jung von Matt, what are you doing?" But we think that even if you don't do everything perfectly, you can still get on your way. We're working on it. And if a woman sometimes silently enjoys her yogurt, it's not so bad either, because hopefully it's no longer like that in every single yogurt commercial.

Bieli: It is simply the mass that makes something a cliché. The fact that it is sometimes like that is life.

 

How can you imagine the process internally in concrete terms? A new campaign is being created at Jung von Matt. Where are Gisler stumbling blocks everywhere?

Häcki: The most important moment is really the beginning. Because that's where a lot of things settle, and then it stays the same until the end.

 

So it actually goes with the creation.

Häcki: Exactly. But it can still be corrected almost to the end. There's still a lot you can do, at the latest until production. There should be no gender police to whom you have to submit everything before it goes into production. And that's not only the case in advertising and communication with the distribution of roles. When I stand in front of a concert poster and see only men in the lineup - that's noticeable.

 

Did the Gisler protocol cause astonishment in triggered by the industry or is the perhaps the beginning of an overarching Agency friendship?

Bieli: That would be nice. It's certainly the case that it's not usually the case that you launch an initiative for the whole industry. Or something where people from the entire industry can participate.

 

Gave it by the agencies, who joined have also already Input?

Bieli: Absolutely. New ideas, plans, possibilities are always emerging in our joint discussions. For example, we put together a set of arguments for inclusive language. At the last meeting, we came up with the idea of putting together a similar set of arguments for inclusive images. This is now in the making. The Gisler Protocol is alive and well. We have left the original points untouched. But so far
no one has felt the need to expand it either.

Häcki: We intentionally started working on the Gisler guidelines in pairs. If too many cooks are involved from the beginning, it dilutes the taste. Now that we have a basis, we are open to expansion.

 

Actually, you could give an award at some point. The Gisler Award.

Bieli: Sure! There are lots of ideas floating around. So that these are then also implemented, it takes time. But such award topics are of course a great way to award prizes for good work and theoretically also for not so good work. Of course, an independent jury would be needed. That would also do a lot of work to raise awareness.

 

One would have to perhaps yes also not a new award invent, but could the with an already existing Award include.

Häcki: That would be great. Who knows what the future will bring - we're definitely open. At the moment, however, we are certainly looking at many more agencies joining the Gisler Protocol and gradually making advertising in Switzerland more diverse.

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Editor-in-chief Anna Kohler met Nina Bieli and Annette Häcki for the video podcast. You can find the 13th edition of "Off The Record" on #Gisler Protocol here.

Although diversity, inclusion and equality are on everyone's lips, there is still far too little of it in advertising. Sweaty, funny, clever, mischievous, gnarly men dominate advertising. Women, on the other hand, are still the rascal, the caretaker or the quiet bon vivant.

Two women want to change that and have launched the #gisler protocol in March 2021 (Werbewoche.ch reported). Anna Kohler talks to Annette Häcki and Nina Bieli from Jung von Matt Limmat.

Click here for the written interview on Werbewoche.ch (Subscription+ required).

Audio versions on Spotify and Apple Podcasts, and Podpage

The number of communication channels is increasing, technology is evolving, and with it customer behavior. Raiffeisen's brand identity, which had not undergone a revision since 2006, could no longer sufficiently reflect these changes. Raiffeisen therefore decided to implement a brand refresh. The result is a brand that is clearer, more consistent and more unique across all touchpoints.

Clear positioning

Together with MetaDesign, which has been working with Switzerland's third-largest bank since 2006, Raiffeisen subjected the brand to an in-depth analysis. After an initial preliminary project, the brand identity was finally comprehensively developed.

A special focus was placed on strengthening the Raiffeisen brand through clear, differentiating positioning and the creation of a modern, fresh appearance. Furthermore, the development of a consistent brand and customer experience across all touchpoints and channels was planned and the foundations for stringent brand management were laid.

Old logo remains

The Raiffeisen logo has been in use since 2006 and has become firmly anchored in the minds of consumers over the past 15 years. In order to further strengthen awareness, the logo will therefore remain unchanged even after the brand refresh. The most important element in the new appearance will be the corporate color red, which will be given a more prominent role in all implementations. This is intended to strengthen recognition and also to distinguish the brand more clearly from its competitors. The extended colors and imagery have also been redefined, so that in future all brand elements will support the impact of the Raiffeisen brand.

Resource-saving conversion

The new CI/CD guidelines are being introduced in a rolling process. Future Raiffeisen advertising materials and campaigns will be implemented in accordance with the new guidelines with immediate effect. Existing ones will be revised where appropriate. The Raiffeisen website will be gradually transferred to the new design as part of the digitization strategy as a customer experience portal.

In 2020, Migros began installing pilot self-service boxes in Migros stores. The aim is to make it even easier for customers to pick up their parcels without having to wait in line. Now this service is being expanded: According to a Migros statement, the Pickmup offer will be supplemented with a total of 70 additional PickMup self-service boxes by the end of the year. In 2022, pickup boxes outside the stores will also be added so that parcels can also be picked up outside opening hours.

Migros' parcel pickup service, launched in 2015, currently has a network of more than 700 pickup locations. With Pickmup, customers can have their orders from Migros supermarkets, specialist stores and third-party companies delivered to a location of their choice free of charge. Post and DHL services are also connected at over 400 locations.

Séverine Hubatschek will assume overall responsibility for 20 Minuten Advertising in January 2022. In this new role, she will become part of the Executive Committee of the Goldbach Group.

Hubatschek laid the foundations for her professional career in the media industry during her commercial training and five years working for Publicitas. She then spent seven years deepening her media expertise and knowledge in strategic planning at Mediacom - first as a junior and later as a senior consultant with team leadership.

Her twelve-year career at 20 minutes began for Séverine Hubatschek in 2009 as Key Account Manager. In 2011 she became Deputy Head of Advertising Market National, later Head of Sales National and from 2016 she was Head of Advertising. As Director Advertising, she has been contributing her expertise to the establishment and further development of the Goldbach subsidiary 20 Minuten Advertising since 2020, as Goldbach writes in a press release.

In addition to Séverine Hubatschek, the Executive Board will now consist of Stefan Halter, Director Commercial Content & Performance Business, Helen Irniger, Director Clients & Strategic Sales, and Lea Müller, Director Agency & Digital Sales.

Marc Challandes supports the management of 20 Minuten Advertising and is responsible for the overall coordination with various Goldbach units in the areas of technology, strategy and pricing. As a member of the management of 20 Minuten, he is responsible for the interests of 20 Minuten Publishing in relation to Goldbach.

Sihlcity shines in new splendor. Following the conversion of Utoplatz in 2020, the mall and Kalanderplatz have now also been transformed.

Inspired by the nature of the Sihl area, the forest, river and sunlight can now also be experienced in the mall. The generous glass façade floods the rooms with plenty of light. Natural materials such as wood and stone create a pleasant atmosphere. Another highlight is the new spiral staircase, which connects all floors of the mall in one place.

To communicate the new Sihlcity experience, Karling developed a fresh look. Kinetic lettering traces the striking architecture of the new Sihlcity, creating a hypnotic visual experience designed to captivate viewers.

The new campaign can be seen primarily on e-boards, screens, banners and social media, as well as on posters and advertisements.

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Responsible at Sihlcity: Marianne Guldimann, Jessica Graf, Katrin Freiburghaus, Savina Knüsel. Responsible at Karling: Rolf Helfenstein, Verena Bernasconi, Daniel Serrano, Patrick Suter, Carl Winthereik, Gjin Paloka Kinetic Type Artist: Anthony Velen.