In March 2021, tennis maestro Roger Federer had announced his new role as ambassador for Switzerland Tourism (Werbweoche.ch reported). Now the tourism organization is inviting an intimate conversation between the living legend - and another living legend: Oscar winner Robert De Niro. Federer wants De Niro to star in his promotional film for Switzerland. De Niro declines, because Switzerland may be lovely, impressive and fantastically beautiful, but there's no danger or drama here - it's "too perfect." These are precisely the elements that are so central to De Niro's work.

But in view of the Covid 19 pandemic, drama is exactly what we want least of all at the moment - and so a film that was never realized turns out to be a charming and self-deprecating advertisement for Switzerland. Because if you need a vacation without drama, you need Switzerland - unless your name is Robert De Niro.

The film is the latest work by Wirz BBDO, which is responsible for the entire campaign. It was directed by Danish director Martin Werner and shot last fall in Zermatt and New York.

After first prominent appearances, among others on the famous billboards at Piccadilly Circus in London, the film has been going around the world since Tuesday - about the country where you can relax to the maximum.

I need Switzerland.

What makes Switzerland the perfect vacation destination are not only the spectacular and unspoiled landscapes, but also the short, easy and convenient ways directly into the nature experience. This guarantees relaxation and energy recharging. The campaign aims to summarize this USP for visitors: If you really want to relax, if you really want to escape from everyday life, if you really want to return to everyday life full of energy, if you want a vacation without drama, then you need more than a vacation. Then you need Switzerland.

Recommendations that could convince De Niro

In collaboration with Roger Federer, further joint projects are planned for the future. Already in operation is the website Myswitzerland.com/rogerwhere visitors can discover Roger's personal recommendations and highlights. The variety of experiences presented here is great and ranges from relaxing and restorative to exciting. Scrolling through the images, even Robert De Niro might change his mind. When asked about it, he says: "It excites me to soon discover the natural beauty of Switzerland - perhaps together with Roger."

The campaign has been in operation worldwide since Tuesday.

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Responsible at Switzerland Tourism: André Hefti (Head of Marketing & Productions); Martin Pally (Marketing Manager Summer & Autumn); Dominic Stöcklin (Head of Social Media); Pascal Bloch (Visual Concept Manager); Daniela Chiani (Project Manager Marketing Summer). Responsible at Wirz: Livio Dainese, Alain Eicher, Johannes Raggio, Jannic Mascello, Elise Smidt, Elena Gabriel (Creation); Cosima Lang, Laura Saner (Storyline); Erasmo Palomba (Agency Producing); Simone Jehle, Janna Löhr (Consulting); Rahel Signer (Media Realization); Pumpkin Film (Film Production); Sonja Brand (Exec. Producer); Julia Illig (Producer); Nicolai Monberg (Edit); Martin Werner (Director); Manuel Ruiz (NYC), Jan Mettler (CH, Director of Photography); Ballad (Music and Sound Design); Per Kasch (Photographer); BaconX and Südlicht (Image Editing).

Emergence and growth of social media platforms

LinkedIn

In this post, we'll move forward chronologically. First, here are a few key statistics about the current social media giants. The oldest of the established channels - LinkedIn - was officially launched on May 5, 2003. Originally, many technical professionals were active on the platform, and savvy marketing folks quickly discovered that they could just jump on and find target people on it for free. But it quickly made sense for the platform to evolve into a place for professionals in all industries to share their work experiences, network, and find new job opportunities and new employees.

• 60.1 % of LinkedIn users are between 25 and 34 years old,
• 19.2 % between 18 and 24 years old,
• 17.5 % between 35 and 54 years old,
• and considering the employed population, only 3.3 % of users 55 years and older.

Facebook

The first version of Facebook was launched in 2004 and nowadays it has the following features:

• 2.74 billion monthly active users
• The platform reaches 59% of the global social networking population
• Third most visited website in the world
• Second most downloaded app after TikTok

Facebook's largest audience segment by age is 25- to 34-year-olds, with 32.4 percent of all Facebook users*. The next largest group is 18- to 24-year-olds, representing 23.5 % of the Facebook audience.

Youtube

In February 2005, three former PayPal employees founded YouTube. Google bought the site in November 2006 for $1.65 billion and now operates it as one of its subsidiaries. YouTube has over 2 billion users, which accounts for nearly one-third of the Internet.

As a testament to their investment in Creators, the number of channels earning six figures per year on YouTube has increased by more than 40 % year-over-year. YouTube is the second most visited website in the world, used by 77 % of 15- to 35-year-olds and 73 % of Americans ages 36 to 45. Unlike many other platforms, usage does not decline with age. YouTube is still used by 70 % of 46- to 55-year-olds and 67 % of 56+-year-olds.

Knowing the enormous importance of user-generated content, the 2006 Time Magazine "You" to the "Person of the Year Chosen. "It tells a story about community and collaboration on an unprecedented scale."

Reddit

The website Reddit, which bears the title "The Homepage of the Internet," was founded in 2005. The ability to vote for posts as well as comments within posts brings the best content to the top in each case. This approach is appealing and has already been used for other scenarios proposed. With over 52 million daily active users and 50 billion monthly views in 100K communities, it is the 12th most popular site in the world. There's a lot of quirky humor on the platform, like the fact that the r/trees subreddit is all about marijuana, while the r/marijuanaenthusiasts subreddit is "the go-to subreddit" for all things botanical.

Twitter

Twitter was initially called a "microblogging service" and debuted in March 2007. Tweets were originally limited to 140 characters, but on November 8, 2017, this was doubled to 280. With 63 % of users* aged 35-65, Twitter also has one of the oldest audiences. With 353 million monthly active users, the platform is thus below Reddit and above LinkedIn in terms of popularity.

Instagram

Instagram officially launched in 2010, and although the social media platform is mainly used via a mobile app, it is the sixth most visited website in the world. Over 1 billion people use Instagram every month. 81 % of people use Instagram to research products and services, and two in three say the network encourages interaction with brands. As with Facebook, the largest user segment is with 33.1 percent of U.S. Instagram users 25 to 34 years old. The second-largest group is made up of 18- to 24-year-olds.

TikTok

TikTok was originally released in the Chinese market in September 2016, and after merging with another Chinese social media service, namely Musical.ly, it was made available globally on August 2, 2018. In 2020, TikTok was the most downloaded app in the world. Meanwhile, the app Available in over 150 countries and has over one billion users. TikTok users are much younger, with 60 % belonging to Generation Z. About one-third, or 32.5 %, of U.S.-based TikTok users are 10 to 19 years old. The next largest segment is 20 to 29 year olds with 29.5 %, followed by 30 to 39 year olds with 16.4 %.

TikTok took a very strategic approach to recruiting and compensating content creators because they know they are key to the success of any platform. "TikTok recently established a $1 billion fund for Creators. This money is paid by TikTok directly to its content creators to further strengthen relationships with influencers*."

Twitch

According to Generation Z, Twitch is the best platform for video gamers to stream their game publicly. You can subscribe to your favorite streamers and even win in-game prizes for watching games like Rocket League. However, the technology doesn't force active watching. Consequently, running the game in the background is enough.

Twitch is operated by Twitch Interactive, a subsidiary of Amazon. There is both a free and a paid version. With over 9 million active broadcasters, it's not exclusively about gaming, but the top 5 streamers are all gamers..

Other emerging platforms

Clubhouse is an exclusive, audio-based social media app that is currently accessible by invitation only. Users share audio recordings instead of text contributions. In May 2020, the company was valued at around $100 million. In a recent article described Mashable it as "something like a free-flowing live podcast. You can just listen or choose to contribute your thoughts. Think of it as a cocktail party or a club." Clubhouse is also popular with celebrities like Oprah, Kevin Hart, Drake, Chris Rock and Ashton Kutcher.

There is a rule that does not allow recording nor storing conversations. Although I personally have my doubts that we will never have a scandal revealed by the app.

Trill is a video service and social network that allows users to automatically edit their videos and sync them with background tracks using AI.

Will the new players topple the established platforms?

It is sometimes said that Facebook is dead and deleting profiles is trending. There's even an entire website dedicated to promoting deletion and addressing how such platforms act in toxic and polarizing ways that exploit our biases. Social media breaks, as so often happens in January, are also popular.

With the emergence of new players, there is concern that established platforms will be abandoned. MySpace, for example, was an early pioneer. I was really surprised to see that the platform is still active, although I don't think anyone would argue that it's relevant anymore. Vine has also withered away. Is TikTok possibly to blame for that? It certainly hasn't helped either way.

Platforms	Monthly active users	Growth 2020	Daily usage time	Engagement %	Sales 2020
LinkedIn	303 million	+9.39%	<1 min	0.4%	8.05 billion
Facebook	2.4 billion	+7.27%	58 min	0.19%	85.96 billion
YouTube	1.9 billion	+5.00%	40 min	Micro-Influencers: 1.63% Mega-Influencers: 0.37%	19.77 billion
Reddit	330 million	+23.26%	16 min	-	120 million (2019)
Twitter	330 million	+4.12%	1 min	0.036%	3.72 billion
Instagram	1 billion	+22.87%	53 min	1.42% Micro-Influencers: 3.86% Mega-Influencers: 1.21%	22.2 billion
TikTok	1 billion	+37.50%	52 min	Micro-Influencers: 17.96% Mega-Influencers: 4.96%	1 billion
Twitch	140 million	+14%	9 min	-	213.8 million

New players to watch out for

Twitter Spaces

Following the massive launch of Clubhouse, Twitter has already released a new live audio conversation feature for its users in the same app in December 2020. Spaces. Compared to Clubhouse, Spaces already seems more promising. All iOS and Android users can talk and listen in a Space. Also, no invitation is necessary, since everything is available in the app itself. In contrast, only a small group of iOS users can create Spaces at the moment. However, updates and new features should be coming soon.

Caffeine

Unveiled in 2018 and developed by ex-Apple designers, Caffeine seemed promising at the time. On it, users can live stream both themselves and their computer or TV screens, which is especially popular with influencers in gaming and entertainment. Similar to Twitch, Caffeine also has a monetization program which rewards dedicated broadcasters. To date, the social broadcasting platform has already 294 million dollars funded, with the largest investors being 21st Century Fox and Fox Corporation. However, especially in Europe, Caffeine.tv is not yet the norm for live broadcasting, as Twitch is still the leading platform here. Depending on the trend of Generation Z and which brands and influencers join the platform as pioneers, the future of Caffeine is still open.

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* Yoeri Callebaut is Chief Growth and Marketing Officer at influencer marketing agency Kingfluencers. He studied economics in Ghent, Belgium, has an MBA in Business Management and today specializes in branding and marketing with a focus on strategy, digital media and storytelling. 

The editor-in-chief of Annabelle has met with m&k- and Advertising WeekWe met Anna Kohler, Editor-in-Chief, for a video podcast. In the interview, she talks about what drives her and how she wants to lead the magazine into the future.

The interview with Krause-Blouin from the m&k-Print issue 4-2021 read here.

On the one hand, the agency has created a headline concept for the family-run butcher's shop that is intended to get to the heart of Minnig's strengths in a highly topical and pointed manner. At the same time, a mysterious poster campaign is running at selected train stations in German-speaking Switzerland to awaken the desire to grill. Without any words or logo, but with a QR code. The posters are intended to appeal to the primal instinct that is in all of us: a million years ago, humans discovered fire and started grilling meat. That is why the sight of fire and glowing coal exerts a magical attraction on us. This attraction is exploited to lure people to the barbecue webpage without words.

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Responsible at Minnig: Karl Minnig, Nicolà Melcher. Responsible at Karling: Rolf Helfenstein, Daniel Serrano, Patrick Suter.

Two new moving image and storytelling specialists are joining digital content newsroom Andy Was Right these days. The company, which launched in fall 2019, is thus further expanding its creative competencies. "Today, we work not only for brands, but also increasingly for agencies or productions that appreciate our digital mindset and flexibility. That's why it was clear that we wanted to expand our expertise in conception and creation," explains Roger Hämmerli, Managing Director of Andy Was Right.

"Our premise is simple: 'Storytelling from idea to the user's screen.' With Clara and Gregory, we're getting the next building blocks to take us to the next level," Hämmerli elaborates. "With fast-changing digital platforms and the external influences on them, you need absolute top talent for this job and et voilà: We got them."

Swedish-born Clara Nordlander Wiberg will take the reins of cross-platform video storytelling at Andy Was Right as Conception Lead. The 38-year-old concept specialist has previously worked for brands such as MTV, EF - Education First or the Swedish daily newspaper Aftonbladet worked. "We were already allowed to work with Clara on a concept for a video project and were absolutely thrilled by her way of thinking. That's why it was clear to us: Clara has to become an Andy," explains Linard Baer, Content Lead at Andy Was Right.

Gregory Köfer is no stranger to the Swiss cinematographer scene. The 28-year-old is currently working on his first own film and has already collaborated with partners such as Red Bull, Audi and Dubai Tourism. As Senior Video Creator, Gregory will be found primarily behind the camera and in conceptual design. "Gregory just ticks differently. When he picks up a camera and looks through the lens, you can tell he's in his world. Everyone wants to work with people like that," explains Hämmerli.

The two new hires start at Andy Was Right immediately and strengthen the digital content newsroom's now 25-person team.

In the case of Emmentaler AOP, the "Original" label is particularly complex, broad and traditionally based. "Original" also forms the basis of the current campaign. It presents the most important reasons and arguments why the original is the original. Facts that make Emmentaler AOP the original, set it apart from the competition and underline the value and uniqueness of the brand.

The current campaign is being launched with various digital advertising media and on posters with broad appeal, and is supported by a comprehensive social media concept. All measures refer and link to the online hub, which was also newly developed: The responsive website Emmentaler.swiss uses "scrollytelling" to take visitors on a pictorial and information-packed journey into the world of the original.

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Responsible at Emmentaler Switzerland: Stefan Gasser (Director), Luana Monopoli, (Marketing & Communication Officer), Sandra Wiedmer (Marketing & Communication Manager). Responsible at Zimmermann Communications: Dominik Mätzener (Managing Director Consulting), Christoff Strukamp (Creative Direction), Ramon Alder (Art Direction), Rolf Zimmermann (Strategy&Media), Florian Bieniek, Lara Cavelti (Project Management). Implementation and production of digital advertising materials: Zimmermann Communications. Implementation and production online hub: Weooo, Compresso; Lena Hogekamp (photography).

Neum helped Lattesso achieve a new brand identity as part of a long-term collaboration during 2020 and 21. During the implementation, particular attention was paid to ensuring that the rebranding was based on the philosophy - Lattesso's high quality standards and perfectionism.

Although the desire for a new, fresh, contemporary look was very present, the previous brand presence was not to be neglected. Distinctive design elements, as well as the look and feel of the brand, were not to be discarded. The Lucerne agency therefore aimed rather at translating the brand appearance into a new aesthetic, which should convey the core values of the brand even better: Highest quality to go, Convenience can also barista quality.

In the course of an extensive, lively exchange with the customer, the brand core was defined at the beginning of the project. Rational USPs were translated into emotional core values and the fundamental concept of the new brand appearance was developed.

In a second step, the design process began, in which Neum worked closely with the client to create, discard, select and further develop various designs.

The decision was ultimately made in favor of a simple, uncluttered design that puts the brand color copper at the center. Inspired by menu boards in coffee houses and old-school Dymo tags, the headlines were designed as white text elements on a black stripe. The imagery is meant to pick up on the barista aspirations, the high level of craftsmanship and the authenticity of the brand.

Parallel to the development of the corporate identity, work was carried out on new packaging. Central elements such as the Lattesso bean and the belt in the center of the cup were retained. For the sake of recognition and simplicity, the logo was stripped of the "café" suffix, which is also intended to further differentiate the brand from its competitors. This maximum reduction to the essentials is intended to make Lattesso a brand with real independence and strength. The cups are now more colorful, which should significantly improve visibility at the point of sale and thus provide the necessary impetus for the purchase decision. The variety colors are more dominant in the new design - the cup base has been recolored, while the striking belt with the bean signet now shines in the brand color copper. Rather distracting elements have been removed and the amount of information reduced. The result is a clear design that stands out stylishly and simply from the refrigerated shelf.

After the new corporate identity was adopted, Neum worked with the client to implement and apply the new design guidelines. A new website was developed. And cardboard trays, all merchandise, the brand's print media, field service vehicles, as well as existing advertising measures on all channels appear in the new Lattesso design.

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Responsible at Neum: Lars Kienle (Project Management); Lars Kienle, Joël Wyss (Concept & Strategy); Olivia Hubli, Michael Kunz, Lars Kienle, Joël Wyss (Design). Photography: Dino Reichmuth, Marius Wickli (short picture). Web Development: Jonas Holzer.

Studer Cables, based in Däniken SO, has been regionally anchored since 1939 and specializes in the development and manufacture of highly specialized plastics and special cables.

Blueheard developed various measures for the new brand appearance of Studer Cables. In addition to the new logo, a video animation was created, which dynamically sets the scene for the logo and is displayed on the website, which was also implemented by Blueheart. Website is used. For the brand launch, various stationeries from letterheads to envelopes and business cards were also realized. Various other measures are currently in the works.

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Responsible at Studer Cables: Bruno Fankhauser (CEO), Hans-Martin Rohr (Vice-President), Christoph Egli (Head of Marketing Communications). Responsible at Blueheart: Olivier Kilchherr (CD Art), Marianne Kieser, Janine Simmen (Art Direction), Michael Lang, Frédéric Renzen (Project Management / Consulting), Claudio Heller (Video Production), Nicolas Renzen (Project Manager Digital), Cyrill Lehmann (Web Development).

In addition to the permanent exhibition, the Spielzeug Welten Museum Basel organizes and realizes theme-specific special exhibitions every year. For the current exhibition "Moving World - Steiff Surprises and Fascinates", the Basel institution has collected mechanical showpieces from Steiff's production and restored them especially for the exhibition. To ensure that this special exhibition does not suffer a similar fate to last year's editions due to the museum being closed, Yellow has created a virtual experience that can be discovered independently of a visit.

About the online platform Moving-world.swmb.museum visitors can stroll through the historical showpieces on a virtual tour. The somewhat different exhibition experience is accessible via any web browser on mobile devices and desktop computers. The classic measures of Yellow's creative work can be seen in national magazines and trade titles, as well as on posters and social channels.

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Responsible at the Spielzeug Welten Museum Basel: Laura Sinanovitch (Executive Director and Curator). Responsible at Yellow: Joe Werner (conceptualizer, designer and finisher), Reto Meyer (ambassador), Selina Teuber (planner), Daniel Bard (digizepter), Hannes Müller (writer), Michelle Boillat (realizer), E-Point (programming), Rampenlicht (film).

The idea for this campaign came out of necessity. Employees of Spinas Civil Voices, an agency for civil society causes, could hardly believe current reports about protective masks: 129 billion protective masks have been used worldwide since the beginning of the pandemic, and that every month. These masks are largely made of plastic, so they don't degrade on their own. If they get into the environment, they remain there for centuries and become a deadly hazard for animals on land and in the water.

It is estimated that 1.56 billion protective masks have already entered the sea. They place an additional burden on the oceans and their inhabitants, who already have to contend with incredible quantities of disposable plastic. A creative team from the agency set out to develop a concept that would raise awareness about this issue. The right client for this message was quickly found.

The Swiss Marine Conservation Organization OceanCare has been advocating for the reduction of single-use plastic for years. With its status as the UN's special advisor on marine conservation issues, OceanCare is influencing global decision-makers to ensure that a global plastics treaty stems the tide of plastics entering the oceans.

What protects us causes damage in the sea

"It's a sensitive issue, we realize that," says Sigrid Lüber, founder of OceanCare. "The masks are essential to protect people in the pandemic. The premise of the campaign was to make that fact clear. Our goal is that we can make people aware to dispose of their protective masks properly and use reusable masks whenever possible."

As part of the "I Care" plastic awareness campaign, Spina's Civil Voices created a new series of subjects with a clear visual and content message: "What is protecting us right now is causing enormous damage in the ocean. Please dispose of your protective masks properly."

Three motifs were realized, for print, OOH as well as in an animated form for social media. The campaign has been running since this April and will continue for as long as we all wear protective masks.

 

The Jungfraujoch is the highest railroad station in Europe and one of the top tourist attractions on the continent. According to Wortspiel, the Jungfrau.ch homepage of the "Jungfraujoch" tourist attraction is one of the most visited websites in Switzerland. After the Wortspiel agency had supported Jungfrau Railways in the area of Google Ads for many years, the two companies extended their cooperation to conversion optimization of the Jungfrau.ch website. The result: +14% more online bookings for the Jungfraujoch with the same number of visitors:

Only a few of the tickets sold online

According to Wortspiel, the initial problem with this case was the fact that the mountain railroad tickets for the "Jungfraujoch" excursion destination were primarily sold offline at the ticket counters. At peak times, this led to queues at the ticket offices. Although tickets can be purchased online via the website, only a fraction of the many website visitors bought their mountain railroad ticket on the website.

The solution: Improve landing page

Because it had not been technically possible to improve the online store within a useful period of time, Jungfrau Railways and Wortspiel decided to optimize further ahead: on the landing page of the Jungfraujoch. By means of several expert walkthroughs, the agency identified weak points and optimization potential on the landing page. The agency put the resulting optimizations to the test in an A/B test.  

14 percent more sales with the same traffic

The result of the optimized Jungfraujoch landing page: 14 percent more ticket sales with the same traffic, according to Wortspiel. Since then, conversion rate optimization CRO has been a constant topic at Jungfrau Railways, which is why further initiatives to improve conversion performance are being planned.

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Responsible at Jungfrau Railways: Matthias Bütler (CMO), Achim Schneider (Online Marketing Manager). Responsible at Wordplay: Erik Blatter (Head of Conversion Optimization), Stefan Vetter (CEO), Nils Kattau (external consultant).

The pandemic, at the latest, has made many people aware once again how important the little things and moments in life are - when you are there for each other and take time for each other. But this also includes those moments that make you rethink. The current campaign for McDonald's aims to get to the heart of this with "Small moments make a big difference".

The campaign kicks off with the current brand film, which was launched on Monday. The story sensitively tells how challenging it can be to be a good mother or father and successful at work at the same time. The film is intended as an ode to all parents who try to the best of their ability to give the family enough time and space - but sometimes reach their limits when the boss calls again in the evening. Because with increasing mobility and flexibility, the boundaries between "job" and "family time" are also becoming blurred. At the same time, the film is an appeal to give enough time and attention to the important interpersonal relationships, to respond to each other, and to show each other that you mean a lot to each other. This is done by being fully present and compassionate in just those little moments that make the big difference.

The film was realized with director Jamie Rafn and the Zurich-based film production company Tuna Production. The film is musically accompanied by the new brand song "Every second", which was created together with Stephan Moritz from Mokoh Music in collaboration with the duo Noa & Zac as well as Michelle Leonard and Marcus Brosch.

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Responsible at McDonald's Switzerland: Aglaë Strachwitz (CEO), Stijn Heytens (Marketing Director), Inga Roxburgh (Marketing Manager), Sandrine de Cerjat (Marketing Consultant). Responsible at TBWA\Zurich: Manuel Wenzel (ECD), Tizian Walti (CD), Susanna Fill, Reto Clement (Senior Art Director), Wolf Gaertner (Senior Copywriter), Mark Levay (Art Director), Mario Hipleh (Junior Copywriter), Dominik Laubscher (Group Account Director), Chiara D'Arpa (Account Manager). Partner: Tuna Production (Film Production), Jamie Rafn (Director), Federico Alfonzo (DoP), Tufan Tuna (Executive Producer), Mokoh Music (Music Production); Stephan Moritz (Executive Producer).