Every customer journey consists of thousands of small text fragments. Some of them are visible - push messages or cookie notices - while others are only noticeable when it matters: reminders, cancellation confirmations, technical error messages. They all combine maximum reach with minimum attention. An auditory patchwork quilt.

And internally? Here, too, there is a proliferation of texts: onboarding guides, Slack announcements, notices in the canteen, even the farewell card in circulation. Each department writes for itself - there is rarely a real overall direction.

AI increases the blurriness

Generative AI models write quickly, formally correct - but probabilistically. They always choose the most probable word, not the most brand-typical word. This is precisely why chat responses, confirmation emails and app notifications will all sound exactly the same at some point. Without an explicit linguistic identity, AI does not multiply the character of a brand, but rather its arbitrariness.

From a sense of style to linguistic structure

Tonality guidelines often provide vague adjectives such as "fresh", "approachable", "competent". This is enough to create a feeling - but not enough to keep language digitally consistent. Because as soon as things get complex and detailed, language needs clear rules:

• Set speech modes (explanatory vs. activating)
• Define markers (preferred terms, typical formulations - much deeper than today's corporate wording)
• Set context guidelines (when which special features apply)

Only with such a structure can language be operationalized - for humans and machines.

Audit instead of gut feeling

The most important question: Where to start? By first making language measurable. A verbal identity audit collects real content from all relevant channels - from CEO circulars to internal notices - and evaluates it according to criteria such as comprehensibility, emotionality, differentiation and media adequacy.

The result is not a vague sense of style, but a clear language map. What characterizes the brand linguistically today? Where does the brand speak consistently, where does it fray? Only when this landscape becomes visible is it possible to control where the use is particularly effective.

Micro-touchpoints as a strategic lever

It's not just about individual microcopies. The principle is bigger: every word, no matter how small, conveys brand meaning, whether on the "Checkout" button, in email autoresponders or error messages.

The Deloitte/YouGov study "Excitement Points" from 2023 shows the impact of such micro-moments: if the proportion of positive interactions - so-called "excitement points" - increases by just one percentage point, the number of customers increases by 6.1 % and the recommendation rate by 4.1 %. So emotion beats function - and micro-touchpoints are the bottleneck of this effect. The fact is, the brand is created exactly where it is barely consciously perceived.

Why familiarity creates trust

The effectiveness of these micro-touchpoints is based on psychological principles such as the familiarity bias: What we see repeatedly and process easily, we consider to be trustworthy more quickly. In the Excitement Point study, needs such as safety and order dominate positive contacts across all sectors.

Consistent language fulfills exactly these needs - it reduces cognitive friction and lowers perceived risk.

What this means for teams

This means three things for marketing and product teams:

1. Make all text sources visible, even the supposedly unimportant ones
2. Prioritize clearly, consider the reach and risk of all content
3. Condensing rules and coding language so that humans and AI can implement them

Only then should you add AI.

The shadow zone is therefore not a peripheral area of brand management - it is its foundation. Those who lead consistently here create a subtle but powerful advantage. After all, genuine brand identity is not reflected in big promises, but in every single line of text. Especially when nobody is looking.

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* Julius Jäger is Executive Strategy Director at Jung von Matt Brand Identity. In the interview with m&k, he recently revealed how important a clearly defined verbal identity is for a brand, especially in times of artificial intelligence. In his exclusive guest contributions, he discusses the measurability of language and the importance of a "prompt economy" in greater depth.

Geyst has created a new image campaign for the Valais mineral water brand that deliberately dispenses with classic narrative patterns. Under the claim "Drink still. Live loud.", the still water is to be presented as a lifestyle product with attitude - Swiss, young and self-confident.

The campaign approach follows the principle of "vibevertising": instead of a linear story, emotional moods are created. The focus is on visual stimuli, music and fragmented scenes. "We are not telling a story, but conveying an attitude to life," explains Olivia Hug, Art Director at Geyst.

For the production of the 360-degree campaign, Geyst worked with the production companies Marty-Trezzini and Tyma. The TV commercial was realized by the directing duo Synkron. The imagery for the accompanying OOH campaign was created by photographer Cyrill Matter, while Emil Maeder and Pauline Schmid developed the social media content.

The campaign aims to reposition Valais in the market and differentiate itself in a competitive segment. "The decisive factor is how we turn water into a lifestyle experience," explains David Wallmer, Brand Manager at Aproz Sources Minérales, which is part of the Fresh Food & Beverage Group of Migros Industry. The new image is intended to give Valais greater visibility and establish it as a self-confident brand with emotional depth.

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Responsible at Fresh Food & Beverage Group, Migros IndustryDavid Wallmer (Senior Brand Manager), Alexandra Scheibler (Brand Manager), Aline Hutmacher (Trainee). Responsible at Geyst: Olivia Hug (Senior Art Director), Marina Hafner (Consultant), Reto Odermatt (Co-CEO, Head of Creation), Séverine Reich (Head of Realization), Marcel Capeder (Motion Designer), Laura Gyr (UX/UI Designer). Responsible at Marty-Trezzini & Tyma: Yannis Petrone & Tim Holder (SYNKRON, director and camera duo), Gianluca Trezzini (Executive Producer), Yves Marty (Line Producer), Kevin Prinz (Lead Cast), Pauline Schmid (Social Content Producer), Cyrill Matter (Photographer), Emil Maeder (Social Content), Nils Gabelgaard (1. AC), Jan Schär (2. AC), Elia Quadri (Gaffer), Constantin Popp (Lighting), Vivienne Rohr (Hair & Makeup), Arianna Pianca (Styling), Superposition (Motion Control), Gianni Battaglia (Props Master), Hans-Martin Bürki (Butterfly Expert), Elia Zobrist (Runner), Bardo Eicher (Sound Design), Pablo Nouvelle (Music Composition), Matic Prusnik (Grading), Cloudscape (VFX).

At the start of the summer session, a broad alliance of 110 organizations sent an appeal to the National Council. The occasion is the discussion of the "halving initiative", which calls for a significant reduction in public funding for the SRG. The appeal was initiated by the media trade union SSM.

Under the entitled "It's about more than SRG", the letter was to all members of parliament last week. The appeal is not only directed against the initiative itself, but also against any counter-proposals that would further restrict the framework conditions for the public media service.

The signatory organizations come from various areas of society, including culture, sport, education, inclusion, the media industry and employee representatives. Together, they are campaigning for a strong, independent public media service.

In the view of the initiators, the initiative does not only affect the SRG. The visibility of linguistic minorities, the diversity of information and opinions and social cohesion in quadrilingual Switzerland are also at risk. "Cultural and sports offerings in particular, as well as services that promote inclusion, are especially at risk if the initiative is accepted," reads a statement from the SSM.

If the initiative is rejected, the partial revision of the Radio and Television Ordinance (RTVO) adopted by the Federal Council will come into force. This provides for a reduction in the household fee to CHF 300 by 2029 and an exemption from the fee for 80% of companies. This will reduce the annual contribution to SRG by CHF 120 million, which corresponds to a decrease of 17%.

The undersigned organizations already see the planned reduction in fees as a substantial cut. A further reduction through the initiative or additional proposals would endanger the basic media supply in Switzerland.

On Monday, representatives of the organizations reminded parliamentarians of their arguments with an action on the Bundesplatz.

m&k: What happens to creativity when the algorithm decides what "performs well" and we misinterpret this as creative excellence?

Fabian Bertschinger:

Imagine if a play was no longer written by the author, but by an algorithm that decides which scenes stay and which are removed based on applause measurements. This is what it feels like when algorithms decide what performs well. Creativity becomes an echo of past successes, as algorithms predominantly favor content that is already popular. What stands out is smoothed out to match the familiar patterns that the algorithm knows from the past. The result would be that what brings the most clicks, likes or conversions is suddenly sold as creative. Yet the ground-breaking ideas often come from beyond the predictable.

 

A venture into the unknown...

Yes, a truly creative campaign always involves a moment of uncertainty. But if we only play it safe, we risk nipping anything new in the bud. We end up with the same images and messages over and over again because the algorithm convinces us that this is optimal. But it's just yesterday's statistical mediocrity. At a time when everyone is suffering from content fatigue, we are missing the opportunity to inspire people through creativity. If everything looks the same, everything becomes interchangeable and nobody is really surprised or moved. This makes it increasingly difficult to stand out from the crowd and create a genuine connection. For me, creativity means swimming against the tide and daring to do something that doesn't yet have a track record. But the algorithm has no gut feeling and no vision, it only knows data. So if we blindly rely on its definition of "excellence", we cut off the very thing that brings creativity to life: the surprising, the unpolished, the leap into the unknown.

"The Sorcerer's Apprentice is a cautionary parable. It shows that you should master a power before you use it."

 

Conversely, is the greatest risk of generative AI in marketing mediocrity and not manipulation?

Manipulation, deepfakes and subtle influence are extremely dangerous, no question about it. They distort reality and undermine trust. But they attract attention, provoke, outrage and get us moving, precisely because boundaries are being crossed. When we recognize them, we discuss them and take a stand. Mediocrity, on the other hand, remains silent. It doesn't excite anyone, doesn't arouse any emotion and offers no resistance. This is precisely where its treachery lies. Mediocrity slips under the radar until it becomes the norm. It seeps unnoticed into the language of brands, images and claims. Everything sounds correct, but nothing special anymore. Mark Zuckerberg describes this mediocrity not as a danger, but as a goal. In a recent interview with Ben Thompson, he outlines how Meta wants to advertise in the future: companies should simply state their destination and link their bank details. The AI will do the rest. No creation, no targeting, no strategists, no questions. Content without creativity. That sounds like efficiency, but it is a rejection of the creative principle. Because what results is neither surprising nor original. Generative AI optimizes for what is statistically expected, not for what is unique. It delivers what works, not what fascinates. The result is an aesthetic of flawless harmlessness, but also of insignificance. Yet good marketing thrives on profile and edges. But if every headline is generated by an AI according to a formula, we run the risk of sanding off those corners and edges that make a brand unmistakable. Zuckerberg's vision is radical. The risk that every creative act entails is to be eliminated. What remains is a self-optimizing cycle of input, output and feedback. The greatest danger is then not the dreaded scandal, but the big yawn.

If AI only optimizes attention in communication, who actually pays attention to meaning anymore?

Humans, of course, who else? Meaning doesn't come from algorithms, but from experience, intuition and context. AI does great groundwork for this by being able to recognize patterns from huge amounts of data, which we would never be able to do. It provides an excellent basis for differentiating insights. But tools don't build houses, they have to be managed. Developing communication is not just about seeing or recognizing something, but also about understanding the why behind it. Meaning is created in the space between sender and receiver and no system can ever have a complete overview of this space. Fortunately, one might say. Because this is precisely where our task lies: as curators, translators and creators of meaning. With the sovereignty over meaning also comes the responsibility for what we put into the world. Ultimately, it is the end consumer who decides whether the content has meaning for them. And if everything is the same, nothing has meaning anymore.

"What AI lacks is friction and that's exactly what creates connection."

 

Can you think of an example where AI communication is completely ethically correct, but still culturally toxic?

A recent example of ethically correct but culturally toxic AI communication was provided by Channel 4 in the UK. As part of the "Dispatches" series, undecided voters were confronted with political messages via a specially developed platform in the experiment "Can AI Steal Your Vote?". Partly real, partly AI-generated, partly deepfakes. Everything was transparent, voluntary, clearly labeled, i.e. ethically impeccable. And yet the result is worrying. Because 23 out of 25 participants changed their political stance. Influenced by content that convinced them emotionally, even though it was not real. This is precisely what makes the case culturally toxic, because AI is not used here to mislead, but to be emotionally effective. The communication doesn't break any rules, but it changes the rules of the game. When deepfakes seem more convincing than real statements, communication becomes a simulation. It is no longer about truth, but about effect. The line between the real and the fake becomes blurred. AI communication seems to numb our critical thinking. What remains is a perfectly staged reality that we want to believe. Not because it is true, but because it is so well made.

What values does a brand lose if it relies entirely on AI-based targeting?

A brand that relies entirely on AI quickly learns what the target group wants. And at some point stops asking itself what it actually wants to say. Because AI is good at adapting, but not at differentiating. It recognizes trends, but no direction. It recognizes needs, but has no attitude. And so it optimizes communication for maximum resonance until everything feels relevant, but nothing has meaning or contributes to an overarching goal. Relevance does not arise where you simply give what is asked for. It arises where there is an overlap between what the target group is looking for and what the brand offers out of conviction. This is not a data cut, it is a decision and an attitude. AI can help to recognize patterns. But only humans can recognize when it's time to break them. Successful marketing begins when a brand not only reacts, but also takes risks. If I were an AI right now, I would probably use the statistically most likely quote from Steve Jobs at this point: "People don't know what they want until you show them".

"AI does great groundwork by being able to recognize patterns from huge amounts of data."

 

Could it be that the greatest creative provocation in 2025 will be not to use AI - as a matter of principle?

Absolutely. At a time when generative AI has become the norm, deliberate renunciation is the real provocation. Not as hostility towards technology, but as an attitude. Dove demonstrated this in April 2024 with its "The Code" campaign, in which the brand explicitly refrained from using AI-generated images of women in its communication. Instead of algorithmically generated flawlessness, Dove shows real faces, real bodies, real stories. It is remarkable that this step did not come out of nowhere. It is the logical continuation of a consistently managed brand. For over 20 years, Dove has stood for "Real Beauty", for an understanding of beauty that is not based on standards, but on people. In a world that increasingly relies on synthetic emotionality, Dove is defending its brand essence: authenticity as a design principle. What makes the campaign really strong is not just the renunciation itself, but the public appeal to do the same. Dove is calling on the industry to also commit to not using AI-generated images of women. This is no small gesture, but a strong signal that responsibility is not just a matter for the market, but a cultural issue. In the midst of a flood of generated content, the renunciation of AI is not a step backwards, but a conscious resistance against the uniformity. Dove shows that the courage to embrace imperfection does not mean renunciation, but cultural leadership.

Which myth or fairy tale do you think would make a good parable for today's AI communication in marketing - and why?

Funny question, perhaps Goethe's "Sorcerer's Apprentice"? An inexperienced apprentice orders a broom to fetch water using a magic spell. At first he is delighted with the new efficiency - at last he no longer has to carry the buckets himself. But soon everything is under water because he doesn't know how to stop the broom. "I can't get rid of the ghosts I called." What does this have to do with AI in marketing? Not that we want to get rid of AI, but for me the moral of the story pretty much reflects our situation in communication. With algorithms that automatically produce, distribute and optimize content, we have conjured up a powerful force. We celebrate content at the touch of a button, marvel at efficiency, scalability and text quality. At the same time, however, we feel our control slipping away. The communication landscape is filling up with generic messages and automated interactions. Soon we are knee-deep in content water and looking for the magic word to stem the tide. The sorcerer's apprentice is a cautionary parable. It shows that you should master a power before you use it. In the same way, we should learn to use AI consciously and at the right moment. Otherwise we will drown the brand along with its audience. But the challenge does not end with technology. While Europe is attempting to set guidelines for the use of AI with the AI Act, it is clear how inconsistently AI is handled around the world. Many brands operate globally, but their communication rules are negotiated locally.

 

In your opinion, what aspect of the human being is too contradictory, too chaotic, too flawed to ever be meaningfully captured by AI in marketing?

People are contradictory, not by accident, but by principle. They want to fit in and still stand out, preserve and change at the same time, plan and remain spontaneous. What was true yesterday seems embarrassing today. What comforts us can bore us at the same time. These inner tensions are not a flaw, but the essence of the human condition. This is precisely where artificial intelligence struggles. It thinks in patterns, in probabilities. What it cannot grasp is the improbable, namely the moment when someone acts against their profile, makes a gut decision or even contradicts themselves with conviction. AI tries to divide our nature into segments. But what to do with a customer who buys organic vegetables and loves trash TV? AI recognizes the combination, but not the reason. It understands the what, but not the why. AI also lacks the ability to grasp the subtle nuances of human emotions. Emotional intelligence remains the domain of humans, as AI can recognize patterns but cannot empathize with real feelings. Effective marketing, however, thrives on a feeling for what cannot be calculated. From those illogical moments when a person overtakes themselves. Brands that recognize this do not meet us as a mirror image, but as a counterpart. What AI lacks is friction and this is precisely what creates connection. These unpredictable human impulses are also what make great campaigns. Moments in which the audience is surprised and genuinely touched.

"AI is good at adapting, but not at setting boundaries. It recognizes trends, but not direction."

 

If you had to combine AI with a philosophy, for example Zen, Dadaism or Situationism, which would you choose and what would the result be?

Dada. Not because it fits, but because it stands in the way. Where AI seeks order, Dada brings disorder. Where algorithms love patterns, Dada focuses on disruption. The combination seems absurd, but that is precisely what would make it fruitful. Because the hallucinations, semantic aberrations and formal lapses that we dismiss today as AI errors would become artistic potential in the light of Dadaism. At a time when generative AI is increasingly being used to produce disinformation, a Dada AI offers an alternative approach. By deliberately dispersing meaning and subverting the expectation of coherent statements, this AI evades the game of truth claims and deception. If you cannot claim truth, you cannot lie. The result would be a machine that does not work, but inspires. One that does not try to provide the right answers, but rather triggers thought processes. In an age where predictability is becoming the ideal, Dada AI would be one that does not make itself useful, but one that enriches life.

The power of AI.images: Midjourney

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Fabian Bertschinger is Executive Creative Director at Farner, Switzerland's leading communications agency. He has more than 20 years of experience in branding and communication and is a member of the Art Directors Club Switzerland (ADC). He played a key role in Switzerland's first AI-generated advertising campaign and is currently driving the integration of generative AI in the creative industry with various projects. In addition to his agency work, he teaches at several universities and is currently continuing his own education in the field of AI management. He is a regular speaker on topics at the interface of AI, design and brand strategy.

Wingo is kicking off the summer season with a strikingly staged campaign. With the "FlaWingo Summer Deals", the Swisscom-owned full-service provider is not only launching new offers for mobile, Internet and TV, but also a humorously staged world of characters.

In addition to the well-known testimonials Charles Nguela and Alexandre Kominek, this time the campaign focuses on several flamingos and the so-called "FlaWingos": an in-house creation that, according to the campaign, can be recognized by their "hot summer deals". Otherwise, the brand image remains true to the familiar mix of self-irony, striking storytelling and visual exaggeration.

The video spots were produced in several versions: 20- and 6-second spots for YouTube and cinema, 10-second spots for digital out-of-home as well as additional online and mobile formats. The campaign is complemented by traditional outdoor advertising.

A first for Wingo: mobile subscriptions with 5G speed are being offered for the first time. The aim is to provide a high-performance mobile offering that, according to the campaign promise, "can surf at least as fast as a flamingo can fly".

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Client: Wingo. Production: Chocolate Films; Director: Zweihund; Photography: Dan Cermak. Responsible at Neu Creative Agency: Adrian Staehelin, Sandy Pfuhl, Nicole Vizcardo, Adriana Stepanov, Bettina Beyeler, Adam Schwarz, Andrea Braschler, Simon Rehsche.

Wecatch has implemented a complete brand package for the new Estia - Home of Taste brand. In addition to the strategic brand development, the Zurich agency was also responsible for finding the name and designing the visual identity.

Estia was positioned as a brand that combines high-quality cuisine, modern design and Mediterranean joie de vivre. The name is based on the Greek goddess of the hearth and, according to the agency, is intended to convey warmth, enjoyment and hospitality.

The brand strategy is based on the values of authenticity, quality and emotion. These were translated visually into an image that works with warm colors, typographic clarity and a striking logo.

"With Estia, we wanted to create more than just a product brand - we wanted to convey an attitude to life," explains Delia Guerriero, Design Director at Wecatch. The aim was to "give the brand a soul" and position it clearly in the market.

The new brand world should function both analog and digitally and enable a consistent brand experience.

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Responsible at Estia: Lazaros Kapageoroglou (owner, overall responsibility). Responsible at Wecatch Creative Agency: Delia Guerriero (Design Director), Vivien Condrau (Design), Jasmin Wyss (Text & Creative Media), Patrik Ferrarelli (Design), Kevin Casado (Strategy/Consulting).

Tamedia Advertising is strengthening both its management team and its Commercial Content division as of summer 2025. By creating a new department and filling two key positions, the company is responding to the growing demand for customized, creative and targeted advertising formats.

As of July 1, 2025, Giselle Vaugne will take over the management of the newly created Commercial Content department. Vaugne has many years of experience in marketing and communication: most recently, she was Co-CEO and Chief Operating Officer at the Ingo agency, formerly Wunderman Thompson. Prior to that, she was Head of Marketing for Volkswagen at Amag and held management positions at Ford, Microsoft and ABN Amro Bank.

Cristiano da Silva joined the management team as Director Client Sales at the beginning of June. He was previously responsible for sales in the SME segment at JobCloud for nine years. His career has also included various positions at Sunrise Communications.

According to Philipp Mankowski, Managing Director of Tamedia Advertising, the expansion of commercial content activities represents a strategic development step: "By focusing more strongly on commercial content, we want to offer our customers even more comprehensive and individual solutions that are characterized by innovation and high quality."

m&k: Robin Aïsha Pocornie, you were the first person in the Netherlands to establish legal precedent regarding algorithmic discrimination. Can you tell us more about that?

Robin: The incident occurred during the COVID-19 pandemic, when many educational institutions switched to digital exam proctoring software to allow students to take exams from home. This software used facial recognition to ensure that the right person was taking the exam. The problem, however, was that the software wasn’t trained to accurately recognize non-white faces. As someone with darker skin, I had enormous difficulty passing the exam. The software couldn’t recognize me, so I had much more trouble accessing the exam platform than my white classmates. This meant that I had to shine a bright light in my face throughout the entire exam just to be able to take it.

 

What prompted you to go to court?

I initially tried to resolve the issue within the university, but my complaint was dismissed on the grounds that it was a personal problem rather than a systemic one. That ultimately prompted me to take legal action. I filed a complaint with the Netherlands Institute for Human Rights because I was convinced that this was a systemic problem based on algorithmic discrimination. When the court heard my case, the term «algorithmic discrimination» was recognized for the first time in the Netherlands. This was a pivotal moment, even though the final ruling found that I had not personally been discriminated against, since only my ability to take the exam—and not the conditions under which I had to take it—was assessed.

 

Has your case sparked a broader discussion about discriminatory technologies?

Yes, absolutely. There was not only more public attention, but also attention at the political level. At the national level, the higher education regulatory authorities in the Netherlands were made aware that algorithms must be reviewed for potential discrimination before they are implemented. Thanks to my case, there are now clearer procedures in place to ensure that the technologies used in educational institutions are assessed for fairness and impartiality.

You studied bioinformatics, a specialized field. What attracted you to the combination of computer science and biology?

I chose bioinformatics because I find it incredibly exciting to see how technology can be used to solve problems in medicine and cell biology. It’s an interdisciplinary field that combines computer science and the life sciences and offers, for example, the opportunity to apply machine learning and algorithms to areas such as genetics and disease prediction. I wanted to understand how we can use data to better diagnose diseases and improve healthcare. The use of technology to support medical research is an area that has always fascinated me.

 

How exactly can you now apply the expertise you've gained in this field as an expert in AI and ethics?

My studies not only equipped me with technical knowledge, but also showed me how important it is to always take the human factor into account when developing algorithms and technologies. As a bioinformatician, you learn to work with large datasets and develop predictive models. But during this process, you also come to realize how important it is to identify and eliminate biases in the data. In the world of AI and ethics, I see it as my mission to demonstrate that algorithms cannot simply be technically «neutral,» but must always take social and cultural factors into account. This has greatly shaped my perspective on technology and its social implications.

 

Through your company, «robinAIsha Consultancy,» you help organizations and governments develop AI in an ethically responsible manner. What exactly do you do in your work to implement this ethical approach?

In my consulting work, I collaborate closely with companies and public institutions to ensure that their AI developments are not only efficient but also take the social context into account. It is important to recognize that every technology is embedded in a social context. The development of AI must be transparent, inclusive, and equitable. I help clients understand the ethical implications of algorithms and show them how to reduce bias. As a computer scientist, I can not only provide advice but also actually help with the programming myself. In workshops, we raise awareness among companies about training their AI models in a way that takes into account the needs of all users.

 

In your TEDx talk, «Error 404: Human Face Not Found,» you discuss algorithmic biases. In your opinion, what are the biggest misconceptions the general public has about artificial intelligence?

A common misconception is that AI is neutral. Many people assume that machines and algorithms have no biases. But that is precisely the mistake, because they are the product of the data used to train them. This data can reflect biases and discrimination. For example, if facial recognition software is trained on an overwhelming majority of white faces, it will have difficulty recognizing people with darker skin tones. The problem lies not only in the technology itself, but also in the underlying assumptions and the lack of diversity in the datasets.

How do you view the ethical responsibility of companies that develop AI systems, especially when these systems make decisions based on data?

Technology companies have a great responsibility. They must ensure that their AI models are based on data that is diverse and representative, so that the algorithms do not reinforce systemic inequalities or discrimination. But the companies that use these technologies must also be aware of their responsibility. It is not enough to simply launch a product and assume that it is «neutral.» It must be continuously evaluated to determine whether this technology is actually fair and equitable and whether it disadvantages certain groups of people.

 

And what about political institutions? What can they do to prevent racist or discriminatory biases in AI systems?

Political institutions must also address the technical aspects of AI and ensure that legal frameworks are in place to prevent discrimination. It is not enough to enact general anti-discrimination laws—there must also be specific regulations governing the use of AI. Governments should ensure that all AI systems used in public sectors such as education, healthcare, and law enforcement are regularly screened for bias. Greater collaboration between the fields of technology, ethics, and law is crucial to preventing the misuse of technology.

 

What exactly does a «diverse and equitable technology landscape» mean, and what might it look like in practice?

A diverse and equitable technology landscape means that technology is developed to support all people, not just a specific group. It should not discriminate against or exclude people, but rather take their social and cultural context into account. In practice, this means that the development process must be inclusive, with a focus on the needs and perspectives of marginalized groups. This should be taken into account at every stage of product development—from the initial design through to implementation.

Given the current political developments, especially in the U.S., it seems as though things are moving backward rather than forward, particularly when it comes to addressing discrimination. How do you see the future of the digital world, especially with regard to gender-based bias?

I'm concerned, but I think we still have a chance to change course. The discourse on discrimination in technology must become more robust, and both private and public actors must take responsibility. Europe could take a leading role, especially when it comes to combating gender bias in technology. If we ensure that our technological systems treat everyone equally, we can build a more equitable digital future. However, this requires ongoing efforts and greater collaboration between the technology sector, policymakers, and civil society.

 

How have your personal experiences and academic background influenced your current perspective on technology?

I grew up in a very intercultural environment, which helped me understand different perspectives and appreciate the importance of diversity. My experiences at U.W.C. Costa Rica and my involvement in sports during my studies also taught me the importance of teamwork and collaboration. These values shape my work today, particularly in the development of technologies that support all people, not just a single group.

 

Where do you see yourself in the future? What are your next steps?

I hope to expand my work and support even more companies and public institutions in developing responsible and inclusive technologies. I also want to continue promoting interdisciplinary collaboration between technology, ethics, and law, and advocate for these issues to be taken seriously in all areas of society. In the future, my main goal is to ensure that the ethical use of AI and technology is seen as a natural part of development.

Customer retention is cheaper than customer acquisition—that’s one of the most frequently cited truisms in marketing. It’s often said to be five times cheaper. This figure, which originally came from the Harvard Business Review, has since spread worldwide—and is rarely questioned.

As a researcher, however, this figure keeps nagging at me: Can customer acquisition really always be five times more expensive? Across all industries? In a market environment that is now more digital, fragmented, and fast-paced than ever before? The study on which this figure is based dates back to 1990. A different era—long before algorithms, app ecosystems, and AI-powered retargeting.

Byron Sharp had already shattered the romantic belief in brand loyalty in *How Brands Grow*. His thesis: Brands don’t grow through loyal heavy users, but through many occasional buyers. It’s not loyalty, but reach that matters.

Is lifelong brand loyalty even relevant anymore?

In a world where changing jobs every two years is becoming the norm, relationships are formed through swiping apps, and people choose where to live flexibly—is it realistic to count on lifelong brand loyalty? What’s often overlooked is that brand loyalty isn’t a rational contract. It’s an emotional commitment. And this commitment isn’t fostered by stamp cards or bonus points—but rather by a sense of belonging, identification, and social resonance.

Brand loyalty isn’t dead—but it’s different than many people think. It can’t be bought, planned, or guaranteed. And it’s certainly not a universal KPI. But it is possible—where brands create relevance, build trust, and nurture genuine relationships.

Maybe we should stop looking for eternal loyalty. And instead, start creating moments of genuine connection—even if these are often just micro-moments.

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Brand Loyalty: Why We Cling to This Term

1. Financial Hope

Retention sounds cheaper—but it’s rarely calculated accurately.

2. Emotional Longing

Marketers want to be loved—not just used.

3. The World of Measurable KPIs

NPS, repurchase rates, and loyalty scores provide numbers—but they don't always have a real impact.

4. Budget Justification

CRM and loyalty programs need a «why.».

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Prof. Dr. Johanna Gollnhofer She is an associate professor of marketing and one of the co-directors of the Institute for Marketing and Customer Insight at the University of St. Gallen (IMC-HSG).

Shorter, faster, more relevant—what sounds like technical optimization is, at TBWA\Zürich, an expression of cultural change. The new media brand TBWA\360 and the enhanced video unit ViDo represent a structural transformation driven by a strong sense of purpose. Melanie Hasler (Director of Digital & Media, TBWA\360) and Stefanie Bollag Bereiter (Head of Production, ViDo) are leading this transformation with speed, depth, and team spirit. m&k met the two of them in Zurich—and spoke with them about leadership, creative synergy, and the agency model of the future.

m&k: What’s the vibe like when you walk into TBWA\—especially with regard to the TBWA\360 and ViDo units?

Melanie Hasler: When you walk into TBWA\, you immediately sense the spirit of disruption that defines the agency. This mindset is evident not only in its creative approach but also in its specialized units. TBWA\360 reimagines communication holistically and across all channels, while ViDo disruptively advances the field of video and optimally adapts it to today’s challenges. Both units focus not on traditional models, but on innovative, high-impact solutions that set brands in motion.

Why is it so important that media and video aren't just part of the agency's offerings, but operate independently while also being closely integrated within the agency?  

Stefanie Bereiter: The close integration of media and video can be crucial for developing effective, creative, and measurable campaigns. Through close collaboration, valuable customer insights and strategic approaches can be generated that elevate both media planning and video production to a higher level.

Melanie Hasler: It is crucial that media and video operate independently, because both disciplines require highly specialized expertise. At the same time, real impact can only be achieved when strategy, creative, media, and content development work together seamlessly. Thanks to the close integration within our agency, we are able to respond more quickly, efficiently, and effectively to market changes and deliver real business results for our clients.

 

What has changed since Steffi B. took over as head of ViDo?  

Stefanie Bereiter: Since then, ViDo has made significant strides, particularly in the field of film production. To produce high-quality content efficiently, one needs, first and foremost, a certain level of experience and a strong network. ViDo benefits greatly from this.

Stefanie Bereiter: Both. ViDo has a dual identity. We advise the agency on evaluating the feasibility of film ideas in terms of budget, seasonality, story, craft, techniques, and output. This allows the agency to confidently present a well-thought-out film concept to the client, while we ensure during production that the project can be realized in the best possible way. The creative power lies above all in finding the right creative fit for every project—across all departments. For me, creativity also means transcending traditional boundaries and embracing new ways of thinking.

 

What happens when media and video are considered together from the very beginning?  

Melanie Hasler: When media and video are planned together from the very beginning, the result is content that is not only creatively strong but also perfectly tailored to its placement and target audience. This increases the relevance, efficiency, and ultimately the impact of the campaign. Instead of adapting media to existing ideas after the fact, we consider impact and creativity together from the very beginning—faster, more targeted, and with measurably better results.

How does this change the customer relationship?  

Melanie Hasler: This makes the client relationship more collaborative and strategic. From the very beginning, we sit down together at the table, taking an integrated approach to business success, branding, creative work, and media—and develop solutions that truly contribute to our clients’ goals. As a result, our collaboration becomes not only more efficient, but also based on greater trust and built to last.

 

How does your leadership style manifest itself in everyday life? 

Stefanie Bereiter: My leadership style is reflected not only in the decisions I make, but above all in the way I communicate and collaborate with my team. These principles apply both to my core team at ViDo and to my external teams and crews on film productions. Overall, my leadership style is characterized by a supportive, open, and flexible approach that fosters both trust and the performance of my teams.

Melanie Hasler: Our CEO Matthias always puts it so well: we have a team of small entrepreneurs working here; our leadership style is based on trust, autonomy, and genuine responsibility. We believe in strong individuals who think and act independently. Micromanagement has no place here—instead, we focus on clear goals, open communication, and the freedom to find our own solutions. This is how we create an environment where individual strengths can flourish and shared success is achieved.

 

Has leadership changed in general?  

Stefanie Bereiter: Yes, definitely. Leadership approaches have changed significantly in recent years due to various social, technological, and economic factors. Structures are less hierarchical and more flat. There’s a greater focus on teamwork, and individual strengths are encouraged. In general, I feel that emotional intelligence has taken center stage to some extent. I view that as a positive development.

Melanie Hasler: Yes, leadership has definitely changed. Today, it’s less about control and directives, and much more about trust, empowerment, and genuine collaboration. Teams need space, personal responsibility, and a sense of purpose in what they do. Leadership today means creating the right conditions, fostering potential, and working together as equals—not dictating everything.

 

How do you decide what to produce in-house—and when to work with external partners?  

Stefanie Bereiter: The decision of whether to produce in-house or outsource depends largely on the specific requirements of each project and is also a collective decision made by the agency, particularly within the consulting and creative departments. There are many projects where bringing in an external production partner is not only sensible but necessary to achieve the best possible results. Our goal is not to handle all production projects that come to the agency in-house, but rather to ensure that we can provide the right resources and quality for every project that comes to ViDo.

 

What is particularly important here?  

Stefanie Bereiter: A balanced partnership with external partners is therefore of great importance to us.

 

What role will in-house production play in the agency model of the future?  

Stefanie Bereiter: In my opinion, in-house production plays a crucial role in the agency model of the future, as it leverages synergies, increases efficiency, and can thereby reduce production costs. Through close collaboration as a producer with the consulting or creative teams, content can be coordinated more quickly and accurately. In addition, in-house production allows for greater creative control and a better understanding of brand identity. The flexibility to respond to feedback or obstacles almost in real time supports the adaptation of campaigns.

 

What makes ViDo special—in one sentence?  

Stefanie Bereiter: Agility, efficiency, and teamwork.

 

What sets TBWA\360 apart—in one sentence?  

Melanie Hasler: TBWA\360 takes a radically holistic approach to communication—across all channels, creatively disruptive, and with a 360-degree integration of media strategy, planning, and reporting, always with a focus on real business results.

Automatically generated emails, chat histories or system notifications: Thanks to artificial intelligence, brand communication is increasingly taking place where hardly anyone controls it. If this happens without strategic guidelines, it can become problematic. However, for the first time, brands have the opportunity to use AI to turn language into a strategic, brand-compliant resource.

This is where Jung von Matt Brand Identity comes in with its newly developed "Verbal Identity Audit". The tool analyzes and codes the language of brands in such a way that it can be implemented in a way that is recognizable for both humans and AI systems.

In a mini-series on the topic of "Verbal Identity", Julius Jäger, Executive Strategy Director at Jung von Matt Brand Identity, will take an in-depth look at the measurability of language and the importance of a "prompt economy". In the opening interview, he explains why a strategically defined verbal identity is a basic requirement for successful brand communication - and how companies can take the first steps.

Julius Jäger, why does a brand need a clearly defined verbal identity in the age of artificial intelligence?

Julius Jäger: We used to say that individuality arises wherever it is not explicitly suppressed. With generative AI, we are now experiencing the exact opposite: individuality only arises where it is explicitly defined and specifically controlled. AI-based language models work in such a way that they always choose the most likely next word. So if you don't consciously define your own language, you will inevitably end up with mediocrity. A clearly defined verbal identity ensures that brands do not sound random, but remain recognizable and independent.

 

What typical linguistic inconsistencies do you observe in companies?

Many companies speak with several voices. The website texts are often from the last relaunch and were written externally. The job advertisements are formulated by the HR team, while the annual report comes from a specialist agency. This results in content that works well individually, but hardly speaks to each other. These silos lead to brands having optimized texts for individual channels, but they lack the connecting element that makes them recognizable as part of the same brand. There is a lot of untapped potential.

That is why we have Verbal-id.jvm.ch built a small quick check. Anyone can use it to get an impression of where their own language stands today - at least on the website - in just a few minutes.

"Content that works well individually, but hardly speaks to each other"

 

Why is language so often a strategic blind spot in brand management - why is it neglected?

It has always been possible to define language strategically and in detail. Without AI, however, this was hardly feasible and certainly not scalable. Nobody could or wanted to expect employees to read 20-page language guides. AI is different: it needs this clarity in order to generate content in line with the brand. That's why language suddenly goes from being a neglected detail to a core strategic issue.

 

How does a strong verbal identity differ from classic tonality or text guidelines?

Classic guidelines are often based on general style principles such as "likeable", "refreshing" or "at eye level". A verbal identity goes further. It translates the identity of a brand and says exactly how this is implemented linguistically: with concrete language rules, brand-typical terms and stylistic markers. Language thus becomes controllable, for people and machines.

 

Let's assume a new brand is being created. What steps are needed to define a strong verbal identity?

It always starts with a clearly defined identity: what defines the brand, what attitude and values does it represent? We derive concrete language rules from this identity and define the so-called ID markers - specific words or phrases that are unmistakable and appear again and again. The main aim here is to create specific highlights that are recognizable but at the same time authentic. The verbal identity must feel right for employees and must not be "cringe". A good example is Fressnapf's mail signature: "With solid paw print". Things like this are certainly not right for every brand, but it sticks. If it feels right for a company, such linguistic details can anchor the identity in everyday life.

 

You have launched a so-called "Verbal Identity Audit". What exactly does this audit measure - and how does this systematic approach to brand language work?

The Verbal Identity Audit makes language truly quantifiable. We systematically examine texts from all of a company's channels using clearly defined linguistic metrics: How attractive, understandable and differentiating do they appear? We also evaluate how media-appropriate the texts are tailored to their respective channels and how consistent and brand-coherent they appear across all channels. The results are visualized in a dashboard. This allows you to see at a glance where the brand stands linguistically and where there is potential. The Quick checkwhich I have already mentioned, provides an initial insight into this audit.

 

How do you ensure that AI-supported content speaks in the tone of the brand and not in the style of the tool?

This requires the Verbal Identity Code. A set of rules with clear specifications and specific linguistic markers that serves as a training basis for AI. The code comprises a few but crucial basic rules and very specific linguistic recognition markers. You can think of it like traffic rules that clearly state what is allowed and what is not. This is the only way to create texts that are more than 90 percent brand-compliant from the very first draft. Nevertheless, we always recommend a human-in-the-loop process, as AI continues to exhibit idiosyncrasies that need to be adjusted at certain points. The best example at the moment is the "-", which ChatGPT loves more than anything.

"The Verbal Identity Code is a set of rules with clear specifications and specific linguistic markers that serves as a training basis for AI."

 

What implications does the introduction of a verbal identity have for collaboration between MarCom specialists and technology?

If we want to digitize and scale brand management, a common language between man and machine is essential. A verbal identity reduces approval loops, creates clarity in briefings and basically turns language into a kind of programmable interface, similar to an API. This prepares companies for technologies such as AI-based chats, avatars or voice interfaces, all of which benefit from a clearly defined personality. But it's not just about MarKom, because everyone in the company communicates. Internally and externally, constantly. This is where AI can build bridges and create understanding. And even help shape the culture with verbal identity.

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If you want to know how your own brand language is doing, you can get a first impression with the quick check on Verbal-id.jvm.ch/en win. The online tool analyzes your own website language in just a few minutes and shows where there is potential for more consistency and brand identity.

Behind bushes, at viewpoints or right next to hiking trails: Time and again, outdoor enthusiasts come across the visible traces of improperly defecated waste. To raise awareness of this problem, the Swiss Alpine Club SAC and the Swiss Hiking Trail Association launched their joint awareness campaign again this month. Under the hashtag #ScheissMoment, they are appealing for considerate behavior in nature.

The first edition of the campaign last year already showed that there is a great need for education. Vera In-Albon, Head of Digital Communication at the Swiss Hiking Trail Association, explains: "The great response has confirmed that the topic is of concern to many, but also that education is still necessary." With a mix of information material, social media clips and practical tips, the campaign aims to show how the problem can be mitigated. After all, carelessly left tissues take up to five years to decompose, while wet wipes take even longer. In addition, human excrement can contain drug residues that pollute sensitive ecosystems - especially near bodies of water.

The campaign relies on a combination of education and low-threshold recommendations. For example, it is advised to plan toilet stops when planning a tour or to use the sanitary facilities when resting in huts and restaurants. If you still have to go on the trail, you should stick to simple basic rules: Stay off the path, at a safe distance from bodies of water, dig a hole with a shovel or stone, bury your business and take paper and toiletries with you in a sealable bag. Burning the waste is not an option, especially due to the risk of forest fires.

The campaign is accompanied by Scheissmoment.ch tips and information material in three languages. Campaign posters and a small hand shovel including a transport bag are also now available and can be ordered from the Swiss Hiking Trail online store.

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Responsible at Schweizer Wanderwege: Vera In-Albon, project management, responsible for digital communication; Patricia Cornali, project support, responsible for association communication. Responsible at the Swiss Alpine Club SAC: Lucie Wiget, project management, specialist in open access & nature conservation; Muriel Bigler, project support, specialist in communication. Graphic realization: Jon Guler, film. Joni Hedinger, photography.