FreeME is aimed at people who are facing a change and would like to invest their freed-up vested benefits funds simply, cost-effectively and profitably, thereby making full use of the legal options. The online platform provides six different investment strategies from which customers can choose. FreeME is backed by the expertise of Glarner Kantonalbank and Liberty Foundation for Vested Pension Benefits. The PR Factory created the naming and appearance of the new brand.

Comprehensive communication measures

In addition to the name development and the actual branding, The PR Factory was also responsible for all communication measures. FreeME plans to launch an extension of its online offering with an advisor solution in late summer. It was therefore clear from the outset that the measures would be aimed at both end users and financial advisors. In addition to the website, sales documentation, mailings, various videos, social media productions, and online measures are planned for promotion.

Self-determined and full of joie de vivre

Self-determination was always at the center of both the naming and the visual implementation. Anyone who has to "park" vested benefits money today wants to be able to invest it profitably. FreeME not only offers various options for this, but also the corresponding know-how and low costs.

The appearance of FreeME is fresh and radiates a lot of joie de vivre. It is deliberately aimed at people who are facing a change in life, such as a career break, a divorce or emigration abroad. Both linguistically and in terms of visualization, the positive aura is expressed. The striking illustrations and the square and compact shapes, which run through the entire branding like a common thread, are particularly influential.

Responsible at Glarner Kantonalbank: Jacqueline Theiler, Head of Marketing. Responsible at The PR Factory: Andrea Miolo-Eberhard (overall direction), Patricia Isabel (graphic design and direction)). Video production and illustrations: Explideo.

57.8 percent of respondents believe that digital events - for example via streaming or virtual reality - cannot replace on-site events. These are the findings of the "Events Switzerland 2021" study conducted by the Zurich University of Applied Sciences ZHAW.

The older, the better live

Those aged 45 to 59 would least like to do without live experiences: 90.9 percent of them consider the on-site event experience important or very important. That is 3.4 percentage points above the average for all age groups.

The receptiveness to digital event formats increases as age decreases: of those aged 30 to 44, 88.8 percent find being there important or very important, of those aged 16 to 29, only 85 percent.

Concerts and sports rather not online

The fact that the value of digital events is nevertheless rated relatively highly can be seen from the willingness to pay for them: Respondents would dig deepest into their pockets for online versions of theater performances: 53.2 percent of the normal price would be worth it to the average consumer.

At the other end of the scale are concerts, the digital version of which is worth only 37.7 percent of the live price to respondents on average. Online sporting events are likely to cost just over 37.9 percent of the normal ticket price. A reduction to 38.8 percent would be appropriate for musicals.

Clear age preference only for opera

In terms of the affinity of the different age groups for certain types of events, the survey showed a surprising balance. A clear swing presented itself only in the category of opera: on a scale of 1 (weak affinity) to 5 (strong affinity), the over-60s gave opera an average of 4.33, with an overall average of 3.53. Those aged 30 to 44 enjoyed opera least, with an affinity of 3.42.

Concerts are the most popular, with an average affinity of 3.85, followed by music festivals (3.76), sporting events (3.64), opera (3.53), musicals (3.51), theater (3.4) and, bringing up the rear, trade shows (3.16). (SDA)

The Study is based on a representative nationwide online survey in which around 1,000 people took part in January 2021. It was conducted by the Institute for Marketing Management and the Center for Cultural Management at the ZHAW School of Management and Law.

Monday's penalty order, which was available to the Keystone-SDA news agency, is not yet legally binding. Earlier, CH Media had reported on the verdict.

Spiess-Hegglin, who works as managing director for the Netzcourage association against hate on the Internet, had reported Binswanger for defamation and libel in her canton of residence, Basel-Stadt. The reason for the criminal complaint was a tweet by Binswanger on May 4, 2020.

Binswanger had written that Spiess-Hegglin had been accusing an innocent man of rape for five and a half years. The background is the Zug Landammann celebration of 2014, after which Spiess-Hegglin's canton council colleague Markus Hürlimann had come under suspicion for a possible sexual offense. Criminally, the incidents were concluded without convictions.

Binswanger had published the "incriminated tweet" against his better knowledge, the criminal order stated. This was despite the fact that the accusation of false accusation had already been conclusively investigated by the prosecution authorities and refuted in favor of Spiess-Hegglin.

Tamedia will appeal the verdict and submit evidence against the accusation of defamation, as Nicole Bänninger, Head of Communications at Tamedia, said on request. The Basel public prosecutor's office had issued a penalty order against Binswanger without hearing her in advance. Tamedia is not commenting further on the proceedings at this time.

ETUC criticizes communication of Spiess-Hegglin

Spiess-Hegglin and Binswanger have been in a legal dispute for about a year: Binswanger was most recently working on a book about the Landammann celebration, but it may not be published for the time being.

Last September, the Zug Cantonal Court had confirmed a superprovisional injunction issued in May 2020. Spiess-Hegglin had justified her request for a ban by saying that she wanted to prevent Binswanger from writing about her in a way that would violate her personality.

After various private social media posts by Spiess-Hegglin - namely a "Like" under a Twitter entry of the online platform "Megafon" of the Reitschule Bern, which showed Binswanger with his head cut off - the Federal Office for Gender Equality (EGB) intervened two weeks ago. It supports the Netzcourage association with an amount of 192,000 Swiss francs.

The ETUC criticized in particular deficiencies in Netzcourage's communication and the lack of separation between Spiess-Hegglin's role as a private person and as managing director. It therefore sent the association a reminder, asking it to submit a communication concept and a code of conduct on social media by August 31.

In response, the co-president of Netzcourage, Greta Gysin (Greens/TI), wrote on Twitter that Netzcourage had taken note of the EBG's warning. They are aware that the partial financing of their victim support service also entails obligations and that "the association must adapt organizationally to the new requirements. (SDA)

Since the beginning of the year, the brewery has been working on its latest and probably most unusual beer: for this purpose, Brauerei Schützengarten is transforming the real playing field ice of the SC Rapperswil-Jona Lakers, which they sponsor, into a speciality beer limited to 500 liters.

Because almost all the games in what was actually a successful season had to be played without an audience, the club wants to give something special back to its loyal fans: The exclusive and unique beer is to launch the 2021/22 season positively.

The idea came from Wunderman Thompson Switzerland and was developed together with the Lakers and Schützengarten at the end of 2020. The rather unexpected but gladly accepted advance of the Lakers to the semifinals then caused slight delays. Nonetheless, the ice machine scraped the ice field immediately after the team was eliminated from the playoff semifinals in April. The resulting water was filtered several times by the Swiss water purification company Evodrop and thoroughly tested by the cantonal food inspectorate.

After the officially certified okay on July 12, brewing is now underway so that Schützengarten's red ale-style beer will be ready on schedule for the start of the 21/22 season.

Then in mid-July, Molson Coors Beverage, the beer sponsor of the Tampa Bay Lightning, also released a beer with water from a hockey field. And this only a few days after the Tampa Bay Lightning had won the Stanley Cup on it. The fact that the same idea was implemented more quickly is taken calmly in Switzerland. After all, a beer brewed in just a few days can only be a light beer, says Wunderman Thompson.

Because quality is valued over speed in Switzerland, Coors and the Lightning were invited via social media to a beertasting: As soon as the Schützengarten beer is brewed, they want to taste each other's beer together. The action will be conducted by a beer tasting specialist and streamed live. So that the best beer from a field hockey field wins. Because enjoyment trumps speed.

Responsible at Lakers Sport: Michael Bart (Head of Sales & Marketing); Responsible at Brauerei Schützengarten AG: Kurt Moor (Sales Director), Roger Tanner (Head of Marketing & Services), Nadin Buschor (Marketing & Communications). Responsible at Wunderman ThompsonSandro Tschuor (consulting), Dany Boletas, Cedric Fuchs, Tobias Röben, Kevin Zysset, Samuel Wicki, Swen Morath (creation). Responsible at Shining Film: Sirah Nying, Matthias Lahoda (documentation), Leonardo Sanfilippo (supervision).

Ferndriger has a solid background in marketing and sales. As Head of Marketing at ASAG - now Amag Basel - he was able to gain a 360-degree all-round view of customer needs. Equipped with a versatile network, he has knowledge of the regional concerns of SMEs and is familiar with the complexity of national contexts, not least through his work at the car dealer.

With the addition of Marc Ferndriger, Top Spot is in the planning phase of a strategic realignment in order to be able to fully meet customer needs at short notice in times of change, as the agency writes in a press release. With Ferndriger, Top Spot wants to be able to provide its customers with even more attention in the future. A first impression of this can be gained by visiting the new website Top-spot.ch mediated.

In a multi-stage selection process, the agency showed itself from its best side and is taking over the management of Minor's Facebook and Instagram social media channels and developing them further. The aim is to optimally reach the target group and generate a uniform, fresh image.

The planned measures include a new content strategy, further development of the visual identity, community management, and performance-optimized social advertising. The goal is the strategic realignment of the channels and content logics as well as the development of a new social media visual identity. The agency has set out to take the brand's existing Facebook and Instagram channels to a new level through appealing and visual storytelling with innovative formats.

On the social media channels, the successful launch of the new Minor Almond was given special focus. For the market launch, Dreifive created innovative ad formats with a new look and feel, as well as authentic and value-added content at eye level to address the relevant target group and optimally integrate the new product into the existing portfolio.

In the future, unique and "snackable" content will be created around the Minor Original chocolate stick and the new Minor Almond in order to inspire users for the brand and the products and to convince them with authenticity on social media.

Responsible at Maestrani Swiss chocolates: Jasmine Rusch (Marketing Manager), Cordula Glasmacher (Lead Branding & Communications), Christoph Birchler (CEO Maestrani Schweizer Schokoladen AG). Responsible at Dreifive: Tiziana Tarzia (Senior Social Media Consultant), Tosca Peruzzi-Vieli (Social Media Consultant), Flavia Hagen (Junior Social Media Consultant), Marleen Albert (Head of Social Media), Montserrat Urbiola Diaz (Art Director), Max Müller (Junior Digital Designer), Sarah Wickli (Senior Digital Marketing Consultant), Marcel Oppliger (Managing Director).

Anyone who transports 840,000 people every day and operates 33,000 signals, 13,000 points and 3,000 kilometers of rail network also needs network electricians, electrical fitters, telematics specialists - and many other skilled tradespeople. But tradespeople are often not even aware that these jobs exist at SBB.

To change this, Farner launched a craftsmen's challenge as part of an employer branding campaign that showcases the wide range of skilled trades at SBB to the public.

200 candidates in the reality format

The call for participation in the Challenge was made via 20 minuteswhich was won over as a cooperation partner. "Of course, with a reality format there is always a certain amount of uncertainty as to how well it will be received. More than 200 candidates signed up, around a third of them women. Our expectations were far exceeded," says Marisa Columberg from SBB's HR Marketing, who is impressed by the high level of interest.

The participants now compete against each other in various challenges and occupational fields - accompanied by a film team, a moderator and SBB experts. Tasks such as maneuvering vehicles weighing tons with millimeter precision, keeping their bearings in huge factory halls, welding, separating tracks or working with state-of-the-art technologies in wind and weather demanded everything from the candidates.

The best and most impressive moments of the SBB Handwerk*innen-Challenge will be presented from the end of August in a six-part web series on the channels of 20 minutes and the SBB can be seen.

Responsible at SBB: Corinne Kuhn, Marisa Columberg, Philippe Hasler, Barbara Rheder, Oliver Perren, Nicole Kammerer, Erika Ingold. Responsible at Farner: Philipp Skrabal, Jill-Nadine Reuvener, Jonas Brändli, Ennio Cadau, Martin Fuchs, Bruce Roberts, Mathias Kröbl, Flavio Dal Din, Nicolas Glauser. Responsible at Atem collective: Mirjam Fröhlich, Lukas Fröhlich (Director), Lukas Fröhlich, Sebastian Klinger (DOP), Jonathan C. Meier (Music), Our Colors (Colorist). Responsible at 20 minutes: Severin Schenk.

The 1st advertising half-year 2021 closes with 2,340 million gross Swiss francs. The advertising market is thus 0.4 percent behind the figure for the previous year and as much as 19.4 percent behind the figure for 2019.
The flattening of advertising pressure in June heralds the summer slump again in 2021, as usual, but the European Championships with expensive advertising space will boost the Swiss TV market and flatten the decline somewhat.

In the past exceptional year, the advertising presence curve showed a steep upward trend again after the 1st lockdown. With the Olympic Games approaching, it remains to be seen how strong the summer slump will be in 2021.

Advertising pressure in the overall market

Development of advertising print as of June 2021 in millions of gross Swiss francs

Two-thirds of the sectors are picking up again

13 sectors were more active in June and increased their advertising pressure. The media sector shows a significantly stronger advertising performance in June (+107.7%). However, a look at the YTD value shows that the sector is still one of the three sectors with the greatest reduction (-25.4%).

The picture is similar for transit agencies, which are up 86.7 percent in June but are further behind YTD (-23.6%).

In absolute terms, the food industry must also be mentioned at this point. It is the second most visible sector YTD, with an advertising print of CHF 256.2 million and a current increase of 15.8 percent. In June, the percentage increase is even stronger at 26.9 percent. The biggest trigger here is the chocolate + confectionery product group, which also includes the second most advertised product in June, Kinder Bueno. As the retail trade is reducing at the same time (-3.2%), the gap to the sector at the top of the ranking is melting away.

Advertising winners in June also include tobacco (+77.2%), energy (+46.1%) and cosmetics & personal care (+44.4%), all of which also increased YTD. YTD, a total of 13 sectors are above the value from the previous year.

Telecommunications records highest decline

In June 2021, eight industries are reducing their advertising pressure, four of them by double digits. However, only three of these industries are behind their half-year figure from the previous year. Telecommunications (-29.1%) shows the most significant decline, reducing its advertising print by almost one-third in June. YTD, however, the industry is slightly above last year's figure (+3.3%).

Services (-19.6%) also spiral back in June, as it did in May, and are also well behind YTD (-21.7%).

In addition, Vehicles (-18.0%), Construction, Industry, Furnishings (-15.3%), Pharmaceuticals & Health (-9.1%), Retail (-3.2%), Fashion & Sports (-1.4%) and Cleaning (-0.3%) are reducing.

Top of the month

Top advertisers and most advertised products and services (excluding assortment, image advertising and collective categories) in June

Media Mix

Media Mix for the month of June

Normally, the festival attracts well over 100,000 visitors to the various venues in Zurich every year. This year's edition, however, will not take place as a "folk festival" on the Landiwiese and other venues, but will focus on top-class events with ticket sales and a protection concept.

"We are very pleased to be able to present more international artists in Zurich again this year. Over 30 productions are on view in August, including twelve world premieres. At the same time, the situation remains threatening in many parts of the world where artists we work with come from. Those who are not yet able to travel again have developed formats with which their art will nevertheless come to Switzerland, and which will, among other things, transform the Landiwiese into a place for installations," says artistic director Matthias von Hartz.

Zurich and Paris-based artist and photographer Jean-Vincent Simonet created this year's campaign subjects, which feature protagonists from upcoming performances. To create the expressive works, he combined old manual photographic techniques with new digital retouching methods in a specially devised experimental process.

Twelve world premieres characterize the program of this year's festival: from Bogota to Tokyo, from Windhoek to London, artists are currently working on projects for Zurich. Among them is the Western opera of the Nature Theater of Oklahoma as well as dance productions from Argentina, Portugal and France.

Responsible at the Zurich Theater Spektakel: Sarah Wendle, Veit Kälin, Matthias von Hartz (co-management), Remo Bitzi, Marc Schwegler (communication), Esther Schmid (consulting), Cynthia Domfe (marketing), Josefine Stähli (operations office). Concept, art direction and design: Studio Marcus Kraft (in collaboration with Marlon Ilg); Jean-Vincent Simonet (artwork), Michel Fries (layout), Highfive (web development).

Kaleido Privatbank - formerly AP Anlage & Privatbank - is a boutique bank based in Zurich, serving private and institutional clients. Kaleido uses the collective intelligence of its partners and network to achieve the optimal profit for all parties involved. The Jung von Matt agencies Brand Identity and Tech developed the new appearance of the bank in close cooperation.

High quality and clear

The brand identity developed by Jung von Matt Brand Identity is intended to reflect the sharpened brand profile of Kaleido Privatbank: Integer, forward-thinking, smart, personal and holistic. Furthermore, the process of finding a name was supervised. The goal was to set a clear signal of departure with the new brand name Kaleido as well as to reinforce the idea of collective intelligence.

Collectively intelligent and intuitive experience

The new technology developed by Jung von Matt Tech Website makes the brand presence of the private bank tangible in the digital space. The use of collective network intelligence is visualized by swarm images; micro-interactions with buttons, images and links stand for the future-oriented focus of the bank.

Inclusive and contemporary

For the linguistic appearance and the texts of the website, the teams also worked with Jung von Matt Limmat. The bank works with the gender colon, the texts are short and reduced to the essentials. They are intended to signal openness as well as closeness - and are thus in harmony with the positioning, the brand presence and the website experience.

Responsible at Kaleido Private Bank: Rolf Bauer (CEO), Gian Nay (COO), Tobias Uthe (Project Management). Responsible at Jung von Matt Brand Identity: Christina Widmann (Creative Director), Roman Imhof (Design), Nadja Völker-Albert (Strategy), Diana Geissel (Strategy and Project Management). Responsible at Jung von Matt Tech: Manuela Tappe (Art Direction), Samuel Hauser (Development), Nattha Kamso (Development), Michael Hümbeli (Project Management), Andrin Gorgi (Project Management), Stefan Bruggmann (Managing Director), Michelle Danilschenko (Managing Director). Responsible at Jung von Matt Limmat: Philipp Klink (text), Valérie Gantenbein (project management).

Flims is not only a popular excursion destination, but also home to rare plants and endangered animal species that require special protection. To ensure that natural beauties such as the unique Rhine Gorge or the UNESCO World Heritage Site Sardona are preserved for future generations, everyone must share responsibility and care. Flims has therefore long been committed to a mindful approach to nature.

This is now also reflected in the awareness campaign developed together with MRB. With a variety of measures, it closes the gap between "environmental awareness" and "environmentally conscious action," without appearing cautionary. The platform is constantly being expanded and already shows itself in many facets - on the campaign hub, in social media channels, which are played exclusively in the environment of the natural beauties through geo-targeting, on street posters and in various ambient measures on site. Further OOH measures as well as social and display ads provide additional reach in the Unterland region.

Responsible at Flims Laax Falera Management AG: André Gisler (Tourism Director), Sandra Kirtz (Marketing/Project Management), Jascha Schmid (Product Management). Responsible at Metzger Rottmann Bürge: Christoph Bürge (strategy), Bettina Klossner, Cyrill Wirz (creation), Celina Sprenger, Silvan Metzger (consulting), Carol Hämmig (digital), Bruno Breitenmoser (production), Ingo Rasp (photography/destination image).

Proving the effective impact of TV-accompanying online measures has long been a challenge. The well-known problems such as banner blindness and lack of acceptance of online video advertising Denner solves this problem using digital advertising media with guaranteed interaction.

The interactive Internet offers the opportunity to accompany content from analog media such as TV with high-impact, interaction-based advertising. With its interactive ads "Ad Engagement", Capture Media assumes the risk by charging its clients for the service only when there is conscious interaction via cost-per-ad engagement.

For this setup to work, a storyline tailored to the user experience must be designed. Capture Media takes care of the concept, creation, campaigning, tracking and reporting.

As part of the Denner Frischehexe campaign, Denner is allowing users to take on the role of the witch as well as Hansel and Gretel with the "Witches' Kitchen Challenge". As the first interaction, users can open the hatch to the siblings' cage using hover, swipe or in-ad clicks to enter the witch's kitchen.

Only at this point, when the TV spot has been recognized, is the engaged user billed via the CPAE. The advertising objective is therefore demonstrably fulfilled via billing. According to Capture Media, 1.7 million ad impressions have been delivered to date. In the process, 4.31 percent of conscious user interactions were achieved.

Subsequently, users can continue to work their magic and select various fresh ingredients - bought at Denner - to conjure up one of the various powerful and vitamin-rich menus.

Steeled by the vitamin bombs, Hansel and Gretel throw the witch out of her little house.

Depending on the menu, the fly-o-meter displays a different flight range for the witch.

Then the user is at the end of the ad engagement journey. Around 30 percent of all users who played to the end restarted the "Witches' Kitchen Challenge" via "Play again?". Others used the "Discover now" button to go to the Denner website.

Capture Media created the advertising material entirely from existing video material.

Responsible at Denner: Pascal Trütsch (Deputy Head of Marketing Communications). Responsible at Capture Media: Leona Zerr (Campaign Manager); Alexandra Münch (Business Developer); Michel Mariani (Business Director) . External partner: Drastik, Simon Wick (Managing Director, Creation). Responsible at JBW MediaNina Rolle (Deputy Managing Director / Partner).