The new web series «Galaxus Stories» is all about absurd encounters with customers at the fictional Galaxus store. The first season is now available to watch.
A nerdy romance, a dishonest grandma, or a botched anniversary: The new web series tells quirky stories about everyday life at the Galaxus Shops. «Our customers are real people with their own quirks and eccentricities—and that goes for the thousands of employees behind our online store, too. That’s exactly what we wanted to capture with the Galaxus Stories format,» says the campaign team. None of this actually happened, word for word, but many of these slapstick moments are likely to trigger a sense of déjà vu among the real shop employees.
A Mini-Drama Instead of a Mega-Production
Although the stories are set in the heart of Galaxus, with the fictional store serving as the backdrop, they are not traditional advertisements. Rather, with “Stories,” Galaxus is launching a creative pilot project, produced by a team of in-house and external film and acting talent.
And even though all the videos are streamed on social media, the micro-drama format pushes the one-minute limit. «This means we’re asking viewers for a little more attention than they’re used to with other social media formats. But we think it’s worth it—and that not every digital format has to be geared toward the attention span of a goldfish.» The first six episodes are available on TikTok, YouTube, and Instagram.
The People Behind Galaxus Stories
Numerous in-house and external experts were involved in the production, from concept and screenplay to direction, set design, and sound post-production.
Responsible at Galaxus: Martin Walthert (Chief Marketing Officer), Flurin Spring (Creative Director), Jill Wanner (Head of Brand Communications), Jeffrey Gabriel (Head of Social Media), Ali Tsaeme (Concept), Branko Nastic (Project Management), Valentina Sproge (Art Direction, Screenplay), Aline Piazza (Screenplay), Manuela Rüegg (Producer), Piero Istrice (Director of Photography, Editor), Davide Arizzoli (First Assistant Camera), Rainer Brenner (Copywriter), Nadine Härri, Cédric Feusi, Luca Giugliano (Media Planning), Stefania Krähenbühl (Resource Planning). External Partners: Yoldaş Gündoğdu (Director, Screenplay), Alessandra Dolci (Producer), Selin Besili (1st Assistant Director), Branimir Macukic (Set Assistant), Nico Drechsel (2nd Assistant Camera), Dominic Heim (Gaffer), Jakob Wessley (Lighting Technician), Andreas Pupato (Sound), Andrea Schmidlin, Katharina Meier (Set Design), Amanda Brooke (Styling, Hair & Makeup), Nima Schaper (Styling Assistant), Simon Hardegger (Color Grading), Soundwise (Sound Post-Production), Laura Rindlisbacher (Casting).
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While Switzerland put on a strong performance at the World Cup, a second Swiss success story made headlines almost unnoticed. On the official YouTube Ads Leaderboard for World Cup campaigns in Germany, Digitec Galaxus ranked with its ad «Balla Balla» in third place—behind Samsung and Hyundai, but ahead of Edeka and Ergo.
At first glance, this may seem like just another ranking success. In fact, it’s much more than that. With an online retail market worth around 90 billion euros, Germany is considered one of the toughest markets in Europe. Swiss companies have traditionally had a tough time there. This makes it all the more remarkable that a Swiss advertising idea, of all things, would resonate with an audience that rarely finds humor in soccer.
A Brand with Its Own Language
For years, Digitec Galaxus has maintained an advertising presence that is virtually unique in the Swiss marketing landscape. While many brands develop campaigns, Digitec Galaxus has long since established its own distinctive tone. Every commercial is instantly recognizable as a Galaxus ad—dry, absurd, to the point, and consistently told in a way that defies conventional advertising tropes.
This manuscript bears the hallmark of Martin Walthert. The current Swiss CMO of the Year and the 2020 Advertiser of the Year has been responsible for the creative branding of Digitec and Galaxus for years. It’s hardly a coincidence that this distinctive brand identity is now catching on in Germany as well.
When the CMO Takes a Back Seat
The fact that Walthert not only leads his brand but also becomes part of it is also part of Galaxus’s DNA. In one of the commercials, the head of marketing shows up in person at the logistics warehouse—though only briefly. An employee dryly sends him back: «Go back to the office.»
This scene, in particular, says a lot about the spirit of the brand. Those who don’t take themselves too seriously gain credibility. However, this kind of self-deprecating humor only works when management and corporate culture allow it. Galaxus has been making a virtue of it for years.
It's all about «Balla Balla»
At first glance, the World Cup commercial itself seems almost absurdly simple. It shows products that all have one thing in common: they’re somehow round. From soccer balls to helmets to badminton shuttlecocks, everything revolves around the theme «Balla Balla».
The song, however, is the real star.
Below the video, which has now garnered nearly ten million views, comments are piling up that are almost more valuable to advertisers than any traditional campaign analysis.
«Awesome song—it's just all Balla Balla.»
«Luckily, it's on Spotify.»
«A really cool commercial with awesome music.»
There’s hardly a greater compliment you can pay an advertisement than when the audience takes a voluntary interest in its soundtrack.
The Return of the Jingle
«Balla Balla» serves as a reminder of the power music can wield in brand communication. Over the years, classic advertising jingles all but disappeared from marketing. Instead, many campaigns relied on generic stock music or well-known pop songs.
Galaxus takes the opposite approach. The custom-composed song isn't just background music—it's the centerpiece of the entire campaign. It conveys mood, brand recognition, and brand identity all at once.
Maybe the good old jingle is making a comeback right now.
Humor Beats Glossy Magazines
It’s also interesting to note the contrast with the other top spots in the ranking. Samsung focuses on major soccer icons, while Hyundai focuses on emotions and goosebumps.
Galaxus, on the other hand, wins with warehouse shelves, dry dialogue, and a song that gets stuck in your head after just a few seconds. YouTube praised precisely this blend of humor and originality, describing the ad as a campaign that «hits the mark perfectly with its usual humorous and wonderfully dry style.».
More than just a podium finish
Of course, a single ranking doesn't say anything about long-term market success. Whether the brand message «Germany's Most Trustworthy Online Store» It remains to be seen whether this will become permanently ingrained in people's minds.
However, third place on the official YouTube Ads Leaderboard already tells a different story: Swiss advertising can also capture attention in the largest German-speaking market—not in spite of its unique characteristics, but precisely because of them.
And perhaps that is precisely the greatest compliment one can pay to Martin Walthert and his team.
Quite a few YouTube users sum up the success.
«Now that's some awesome advertising.»
About YouTube Ads Leaderboard
Every month, the YouTube Ads Leaderboard highlights the most creative brands and their ad videos in the following length categories: super-short, short, and long-form. The ad ranking is determined by an algorithm that takes into account views, organic reach, viewer engagement, clicks, and sentiment (likes vs. dislikes).
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Galaxus' Best-Sellers Are Back—This Time with a World Cup Vibe
Following last year’s Eurovision Song Contest, Galaxus is once again bringing the cameras to its Swiss central warehouse in Wohlen. The second edition of the «Galaxus Lager-Hits» campaign draws inspiration from the World Cup this time—and consistently relies on self-deprecating humor, “Lager” aesthetics, and pushing musical boundaries.
A total of four songs and music videos poke fun at the company’s own product line. According to the press release, the result is «a colorful, trashy mix of pretty creepy catchy tunes and visual overload»—filmed right in the warehouse, with great attention to detail and real people behind the camera.
Tech, Trash, and Teamwork: How the Four Clips Came to Be
The four music videos cover a wide musical spectrum: Balla rap meets Multi-Orgasma dance, folk rock unites the world, and gangsters roll dough instead of joints. The song titles are «Balla Balla,» «Football Unites the World,» «Multinational,» and «Supporter en herbe.».
The songs were recorded using artificial intelligence. According to a press release, however, the ideas, lyrics, and music videos were created «through masterful teamwork»—both internally and externally—with an extensive production team spanning various disciplines.
Galaxus Bestsellers: Popularity in Switzerland and Germany
The campaign will be shown in movie theaters across Switzerland starting June 8, as well as in the form of online video content on news platforms, online TV, and social media. In Germany, it will be shown as online video content on video platforms and social media.
More information about the campaign and the product lineup is available on the Galaxus website: https://www.galaxus.ch
Responsible at Galaxus: Martin Walthert (Chief Marketing Officer), Flurin Spring (Creative Director), Jill Wanner (Head of Brand Communications), Ali Tsaeme (Concept), Branko Nastic (Project Management), Luisa Silvestri (Art Direction), Manuela Rüegg (Producer), Rainer Brenner (Copywriter), Piero Istrice (Director of Photography, Editor, Colorist), Nico Bernasconi (First Assistant Camera, Editor), Alessandro Aellig (Visual Effects), Stefania Krähenbühl (Resource Planning), Nadine Härri, Cédric Feusi, Luca Giugliano (Media Planning), Lea Friedli (Dance Choreography, Runner). External partners: Peter Brönnimann (Script), Johannes Raggio (Script), Loris Scaglia (Script), Jyri Pasanen (Director), Matthias Kräutli (Music), Arnold Bucher (1st Assistant Director), Luca Alvarez (Set Assistant), Ilija Roos (Runner), Raphael Werner (Gaffer), Nils Rausch (Lighting Technician), Chantal Rinke (Lighting Technician), Frederik Bauer (Visual Effects), Maude von Giese, Lea Hättenschwiler, Seline Imhalsy (Set Design), Amanda Brooke (Styling, Hair & Makeup), Amande Bruchez (Styling Assistant), Fernando Vieira (Hair & Makeup Assistant), Marysol Fernandez (Casting).
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Galaxus World Cup Campaign: When Advertising Idyll Meets Reality
To mark the 2026 World Cup in the U.S., Mexico, and Canada, Galaxus is launching six new TV commercials—and with its World Cup campaign, Galaxus is doing something that’s rare in the advertising world when it comes to major events: it highlights the contradictions, not the idyll.
Intercultural Exchange Meets Border Walls
In the advertising world, the World Cup is considered the ultimate major event: international understanding, community, one heart for all. The reality is quite different. While soccer fans around the world cheer together, the number of border walls and fences has been growing steadily for years—even between the three World Cup host countries. Galaxus addresses precisely these and other contradictions surrounding the World Cup in its new commercials.
The six films are titled «Canada,» «Golf-Kick,» «Mariachi,» «Pelota,» «Suburbs,» and «Wall Kids,» and are set in a wide variety of locations across all three host countries. The locations range from a Canadian lake to a U.S. golf course frequented by political figures, to a Mexican mariachi band, and to a Pok-ta-Pok arena.
Authenticity as a Production Principle of the Galaxus World Cup Campaign
According to Galaxus, when selecting the actors and actresses and producing the commercials, there was a strong focus on authenticity and accurately portraying cultural and traditional aspects. The actors and actresses were very aware of their roles and worked with the production team to refine them.
Plan B Film was responsible for production management, while Chris Niemeyer served as director and concept developer. Niels Vije served as producer, screenwriter, and concept developer, and Roland Schmid was the director of photography.
The campaign will be featured throughout Switzerland starting June 8 on TV, web TV, in movie theaters, online, and on social media.
Responsible at Galaxus: Martin Walthert (Chief Marketing Officer), Flurin Spring (Creative Director), Jill Wanner (Head of Brand Communications), Eva Lipecki (Brand Management & Project Management), Cédric Feusi & Luca Giugliano (Digital Marketing & Media Planning). External partners: Plan B Film (production company), HC Vogel (producer), Niels Vije (producer, screenplay & concept), Chris Niemeyer (director, screenplay & concept), Ali Tseme (concept), Roland Schmid (cinematography), Marko Strihic (editing), Patrischa Freuler (Graphics & Animation), Simon Hardegger (Color Grading), Patrick Baumann/Cloudscape (Visual Effects), Jingle Jungle (Sound Post-Production), Christoph Benz (Sound Design), Matthias Kräutli (Music).
]]>Since 2017, Galaxus customers have been able to purchase products from the online retailer resell at the same location. Instead of stocking up on new purchases on Galaxus, the four new commercials encourage people to clear out their homes and give products a second life - via the Galaxus resale platform.
As is usual with Galaxus campaigns, the new commercials were developed by our own creative team, supported by specialized partners in the areas of production, direction and camera.
However, this doesn't just apply to things that you no longer need, but also to things that are annoying, irritating or that you simply no longer want. This applies to your own possessions as well as those of your partner or children.
The campaign can be seen online from December 1 in German-speaking and French-speaking Switzerland, on relevant social media channels such as Instagram and TikTok as well as on web TV.
Credits: Martin Walthert (Chief Marketing Officer), Flurin Spring (Creative Director), Jill Wanner (Leader Brand Communications), Gerrit Schäfer (Project Management, Brand Communications), Daniel Kobi (Art Direction), Annina Müggler (Art Direction), Nico Bernasconi (Editing), Bastian Otter (Scriptwriting), Cédric Feusi (Digital Marketing), Luca Giugliano (Digital Marketing, Media Planning), Jeffrey Gabriel and Lea Friedli (Social Media), Stéphanie Casada, Sophie Boissonneau and Martin Grande (Language Services), Ali Tseme (Conception)
External partners: Susanne Bucher (Producer), Jelena Vujović (Director), Noah Frey (DOP), Benjamin Fernando (Camera Assistant), Timo Raddatz (1st AD), Amanda Brooke (Styling, Hair & Make-up), Constantin Popp (Head Lighting Designer), Nico Drechsler (Lighting Designer), Mourad Keller (Sound), Yoni Ben (Set AL), Gabi Morales (Art Department), Nicola Oberholzer (Art Dep. Assistance), Oscar Pohl (Art Dep. Assistance), Tonie Brunschwiler (Runner), Nadja Putzi (Location Scouting), Atelier229 (Casting), Simon Hardegger (Grading), Jingle Jungle (Soundmix & Synchro), Jean-Luc Wey (Labial Translation)
m&k Martin, Philipp - you represent two disciplines. Where does marketing end and creativity begin?
Martin Walthert I don't think you can separate the two any more. Creativity is part of marketing - it's the crucial part. Without it, everything remains mediocre. It's what helps us to create relevance where others only communicate. Philipp Skrabal I agree. Creativity is not a profession, it's an attitude - a way of solving problems. In all situations in life. If you want to be effective in communication, you need a creative mindset. It's not a nice-to-have.
Martin, you lead a team that does almost everything itself - from strategy to production. Philipp, you come to Farner from the outside, as a consultant, sparring partner and source of ideas. What works better - total proximity or creative distance?
Philipp Skrabal The trick is to manage both. It used to be clearly separated: client briefs, agency delivers, then the big magic show follows. Today, we work much more closely together. Closeness and distance are not a contradiction, but rather a rhythm. We need moments of intimacy with the brand - and then the view from the outside to see it anew.
Martin Walthert Proximity is important because it helps to really understand the tone and attitude of a brand. But it can be dangerous if you get too comfortable. We have to constantly take countermeasures - force ourselves to question everything. We must not become complacent. Creativity needs space - without the pressure of expectations, without the stress of having to deliver.
Philipp Skrabal That's the balancing act. We sometimes wish we could look as deeply into the customer as you can. But with you, Martin, it's certainly not easy to keep your distance. I think you have to vary both constantly - closeness to understand, distance to renew.
You both use AI tools. Does that make you more efficient - or more creative?
Philipp Skrabal More efficient in any case. But also more creative. AI is a tool that shows us new paths. It can recognize patterns that we would overlook. And it enables new types of ideas - new mechanics, interactions, involvement. The trick is to use AI and data wisely. This requires creative people. Let's see if I still see it that way in five years' time. (laughs)
Martin Walthert AI can speed up processes. But it does not make the outstanding idea obsolete. I believe creativity will become even more important because it helps us to filter out what is relevant from all the possibilities generated. The machine can produce, but it can't feel.
What if AI suddenly writes better stories than we do?
Martin Walthert Stories only work when they touch us. Even if an AI writes emotionally, in the end it is the human as the addressee who has to judge how credible it is. AI communication has a tendency to be arbitrary, interchangeable, infinitely available and therefore ultimately worthless - and this is precisely when the human and authentic becomes extraordinary again.
Philipp Skrabal Yes, that's the point. Data can be anything - but only someone who understands and interprets it can turn it into something new. A good data scientist is essentially a storyteller. Data tells stories, you just have to be able to read them. And you do that really well at Digitec Galaxus.
Martin Walthert Thank you. We have a lot of data - but the question is: What story does it tell? Where do we put the focus? How do we emotionalize it? This creative focus is the real work.
Philipp, you often say that good advertising needs attitude. Martin, Digitec Galaxus is known for its humor and self-irony. How much attitude can marketing take before it tips over?
Philipp Skrabal A brand that wants to be successful in the long term must stand for something. The attitude is not to jump on the next trend, but to remain consistent. This also means not doing things if they don't fit the brand. Attitude is what remains when the purpose hype is over.
Martin Walthert Yes, attitude is consistency. If you constantly adjust it because the wind is blowing differently, you lose credibility. We have decided to live humor as part of our DNA - because it suits us. Of course, not everyone finds everything equally funny, that's okay. I also answer letters personally if someone complains. Humor is our way of creating emotion without taking ourselves too seriously.
Humor has become rare in advertising. Why?
Philipp Skrabal Because it doesn't suit every brand and can be perceived as artificial. With you, Martin, one can sense that the humor is authentic. It makes you approachable. You don't feel like salespeople, you're on my side as a customer. That's an art. When brands use humor to cover up boredom, it doesn't work. Humor is also an attitude.
Martin Walthert And courage. You have to put up with the fact that not everyone likes everything. But when it's right, humor is the best remedy for distance.
Philipp, you said: "If a new idea takes your breath away for a moment, then you're in the right place." How do you create this space for courage?
Philipp Skrabal By creating security. You need an environment in which everyone dares to say something - no matter how unfeasible an idea may seem. If you reach consensus too quickly, you're still in your comfort zone. The most exciting ideas are the ones where you briefly think: that might be too much or "that won't work". But that's where it gets interesting.
Martin Walthert I see it the same way. We do a lot of brainstorming sessions where everyone can make suggestions. Without evaluation. Allow everything first, then shape it later. If you judge too early, you kill creativity. Mistakes are part of the process.
And do you have enough time for such spaces? Everyday life is very busy.
Philipp Skrabal That is indeed challenging. Everything is measured in hours, but a good idea cannot be measured in hours. That's why it's so important that employees develop ownership - that they say: this is my customer, my project. Then you think along, then you think ahead, then responsibility arises instead of billing. How does that work for you Martin?
Martin Walthert We also have pressure to deliver, of course. But we try to create freedom. Efficiency is important, but if it comes at the expense of effectiveness, you lose what makes brands strong. Better a good idea too late than a mediocre one on time.
You have both been honored - Martin as CMO of the Year, Philipp as Advertiser of the Year. What does that do to you?
Martin Walthert It's nice, but it remains teamwork. I see it as appreciation for everyone who makes ideas possible for us. Of course, I'm also happy about it personally - and yes, my LinkedIn has really picked up since then. (laughs)
Philipp Skrabal It is a nice recognition. It shows that you are making a difference. I got to meet a lot of great people and have exciting conversations. And yes, it has also given us additional visibility as an agency - Farner was sometimes still perceived as a pure PR agency, which is no longer the case. Today, we are a creative network. And awards like this help to make that visible.
Martin, what would you ask Philipp - and vice versa?
Martin Walthert: Philipp, what does it take for you to achieve true excellence?
Philipp Skrabal A CD colleague from Tel Aviv once told me what he told his people: "Bring me what you think you can't do. That's the essence for me. When people dare to push boundaries, something happens. If you stay in your comfort zone, everything stays pretty - but never becomes outstanding.
Philipp Skrabal: Martin, how much freedom do you really give your teams?
Martin Walthert (laughs) Good question. We also have productivity pressure, of course. But I believe that trust is the strongest briefing. When people feel secure, the best ideas emerge. Efficiency must never become an end in itself - otherwise you lose the magic.
When you look at the year 2025 - what remains?
Philipp Skrabal That marketing and creativity are inseparable. We tell stories - and if they are good, they connect people and brands. That remains.
Martin Walthert For me, the realization remains: creativity is not a luxury. It is the hardest currency we have. Because it creates impact where numbers alone have no effect. Good ideas are rare - and therefore priceless.
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Group work is generally regarded as the key to success. But sometimes everything simply goes wrong in a collective. The new Galaxus Mobile campaign is dedicated to precisely these moments, stating with a wink: "Not everything is better together - Galaxus Mobile is."
In four humorous short films entitled "Anamnese", "Für immer", "Rasiert" and "Zusammenspiel", the brand stages situations in which cooperation fails thoroughly - whether at the doctor's, in the salon or on the playing field. The absurdity of the scenes serves as a contrast to the core message: while joint action often leads to chaos, saving money together with Galaxus Mobile works smoothly.
At the heart of the campaign is the "Family + Friends" option, which allows subscribers to reduce their monthly costs: For each additional person in the group, the price is reduced by one franc, up to a maximum of four francs per month - simple, transparent and without complicated contractual conditions.
The commercials will run from October 20 in German-speaking and French-speaking Switzerland - online, on social media (Instagram, TikTok), in web TV formats and on digital out-of-home platforms.
The campaign was developed by Galaxus' internal creative team in collaboration with external filmmakers. It was directed by Ari Zehnder and creatively managed by Flurin Spring.
With quirky humor and precise timing, Galaxus Mobile is once again positioning its brand at the intersection of everyday observation and self-irony - typical of the company's communication style.
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Walthert and his team of around 70 people have been responsible for the successful marketing, sustainable branding and high-profile campaigns of Digitec and Galaxus for years. A large part of the work is done in-house. The team regularly uses unconventional approaches - with demonstrable success: the company's turnover and brand awareness have grown continuously.
Every year, personalities are nominated for the award who are particularly committed to their brand, focus on customers, take sustainability into account and are role models as managers. We are looking for people who break new ground and create real added value for companies and consumers alike.
The candidates are nominated by 24 experts from business, marketing, research, media, consulting and education. The Institute for Marketing & Consumer Insight at the University of St. Gallen evaluates the nominations and draws up a longlist. From this, the jury selects a shortlist of six nominees.
A special feature of this year was the first double nomination: Sara Jerman and Angelika Leemann from Rivella. Also on the shortlist were (alphabetically): Gregor Eicher (Bank Cler), Marco Greco (Ochsner Sport), Sonia Milici (Yuh) and Martin Schweikert (BKW).
After being named "Advertiser of the Year 2020" and "Marketing Thought Leader 2022", Martin Walthert has now also been awarded the title of "CMO of the Year 2025". He started his career directly at Digitec Galaxus after completing his studies and has been working there since 2006. Today, as CMO, he relies on a clear in-house strategy with short decision-making paths. Since he joined, the company's turnover has risen from CHF 62 million to CHF 3.228 billion.
The award ceremony took place on Thursday, August 21, in the Papiersaal Zurich in front of 120 invited guests. Vanessa Meier hosted the evening for the third time. The guest of the Spotlight Session was David Degen, Chairman of the Board of Directors of FC Basel 1893.
The "CMO of the Year" is an initiative of Serviceplan Group Switzerland (Serviceplan Suisse AG, Mediaplus Suisse AG and Plan.Net Suisse AG) in partnership with Admeira, APG, 20 Minuten, m&k, persönlich, swissmarketing and the University of St. Gallen.
]]>Many years of leadership with a clear signature
Martin Walthert has been responsible for marketing at Digitec Galaxus for 19 years - and has played a key role in the company's development into Switzerland's largest online retailer during this time. Having joined the company straight after completing his studies, he is a prime example of sustainable brand management in an extremely dynamic environment.
Hands-on, creative and customer-centric
In his management style, Walthert combines creative thinking with pragmatic implementation strength. "In-house offers us more speed, shorter decision-making paths and greater proximity to our needs and brands," says Walthert. This is precisely what is of central importance to Digitec Galaxus' long-term marketing strategy.
Together with his team, he relies on personal responsibility, flat hierarchies and creative personal achievements - for example in the now iconic advertising campaigns such as "Sag's lieber auf Digitec".
Successful year 2024: growth and innovation
The year 2024 also underlines the strength of Walthert's work in figures: Digitec Galaxus achieved sales of CHF 3.2 billion - a growth of 18 percent compared to the previous year. The continuous expansion of Galaxus Mobile and the recent launch of Galaxus Internet are particularly noteworthy.
The brand is setting new standards in service, sustainability and customer focus: for example, by disclosing the countries of origin of fashion items, simplifying the resale offer and integrating tools such as Perplexity AI in the online store.
Sustainability with a system
Digitec Galaxus is also breaking new ground in terms of sustainability under Walthert's aegis. The company is a member of the Science-Based Targets Initiative and is committed to transparent and science-based targets. The new logistics center in Wohlen is powered by the largest reversible CO₂-heat pump in Europe - which reduces emissions at the site by almost 90 percent.
Creativity as the key
Walthert sees creativity as a decisive success factor in marketing - especially in the age of generative AI: "The more mediocre content is created, the more important real creativity becomes. We need bold ideas instead of tool fixation." In his team, he has observed that many top employees consciously choose the Digitec-Galaxus path - because of the clear attitude, the strong brand and the collective spirit of innovation.
The award as a signal
With the title «CMO of the Year» a top-class jury honors personalities who manage their brands with above-average success, set creative standards and are role models both as managers and as people. Martin Walthert embodies all of these qualities - and is thus exemplary of modern Swiss marketing.
The online retailer Digitec Galaxus is introducing an AI-supported buying advice tool that is designed to make it easier to navigate the product range. According to the company, digital buying guides are available for 500 product types.
The purchase advisors appear in the product search as tiles with question marks. Their advisory concept is based on presenting key product topics and relevant purchasing factors in a compact format. Depending on the category, users of the online store can select individual features of a product.
The generative AI of the buying guides extracts relevant features from the existing product data and generates customized buying guides. Filtering therefore begins after the first selection has been made and reduces the visibility of other products.
According to the press release, the Digitec-Galaxus teams "Clippy" and "Endeavor" are constantly developing the purchase advisors. If the new function proves successful, the online retailer sees potential to further expand its range of digital purchase advisors. (Filip Sinjakovic/ml)
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The return of push-button cell phones is not a passing trend, but an integral part of the current consumer landscape. While smartphones are becoming increasingly complex, many consumers are longing for simpler, less complicated technology. The so-called "digital detox" is gaining in importance. Push-button phones offer a welcome break from the constant stream of notifications and make it possible to consciously switch off from everyday digital life.
One of the greatest strengths of push-button cell phones is their battery life. For many users, a long battery life is a priority, especially when they are on the move and do not want to be constantly dependent on a power outlet. Push-button cell phones are also suitable as first cell phones for children and teenagers. They offer the opportunity to stay in contact with others without the risk of being completely immersed in the digital world. In addition, push-button phones are generally more robust and cheaper than smartphones, which makes them an attractive option for people who don't need to constantly protect their cell phone or are looking for a device that won't break easily.
While one might initially assume that push-button cell phones are mainly bought by older people, the data from Galaxus and Digitec show a more differentiated picture. Although the older generation is indeed an important customer group, younger people also make up a considerable proportion of buyers. Push-button cell phones are particularly popular with teenagers and young adults who value simplicity, durability and a break from everyday digital life.
The increasing demand for push-button cell phones has also brought manufacturers onto the scene. They are responding to the needs of consumers and developing new models that meet the requirements of the older generation as well as the wishes of the younger target group. Great emphasis is placed on intuitive operation, a long battery life and an appealing design.
The success of push-button cell phones shows that there is still a market for simple and uncomplicated technology, even in times of digital transformation. The return of the push-button cell phone is more than just a nostalgic trend, but a sign of a growing desire to slow down and use digital devices more consciously. For advertisers and marketers, this trend offers new opportunities to reach their target groups with tailored messages that focus on simplicity.
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Thanks to streaming services such as Netflix or Disney+, a blockbuster is always available at home. During the pandemic, many movie theaters remained empty, now visitor numbers are rising again. At the same time streaming platforms increase their prices or restrict the possible uses.
On behalf of Galaxus, YouGov asked a good 2,500 people in Switzerland, Germany, Austria, France and Italy how and where they consume films and series. The results showed that younger people in particular are keeping the "old" cinema alive and watch fewer films or series at home than the older generations. The biggest cinema buffs live in the DACH region - and streaming is most common in Italy, but less so in Switzerland.
More popcorn in Italy, more couch in Germany and Austria
The cinema business has recovered from the pandemic years and blockbusters - such as Dune, Oppenheimer and Barbie - are back in cinemas in droves. Most respondents watch a movie on the big screen several times a year. The popcorn experience is particularly popular in Italy and France: around 20 percent of Italians and French people go to the cinema at least once a month.
By contrast, Europe's cinema grouches live in the DACH region: in Germany and Austria, around 40% of respondents attend a movie screening several times a year, but just as many go to the cinema less than once a year. Of these, two in ten stay away from the movie theaters altogether. The picture is similar in Switzerland.
There are also differences in age, with younger people going to the cinema more often than older people. Among 15 to 29-year-olds, six out of ten go to the cinema several times a year and two out of ten even go at least once a month. There is a balanced picture between the sexes, although men tend to indulge in the cinema experience more often than women.
It's good to watch TV in your jogging bottoms
Around half of the Europeans surveyed watch films or series at home either daily or several times a week. While almost a quarter of the French respondents sit in front of the screen for entertainment every day, only 13% of the Swiss do so.
And while the younger respondents go to the movies more often, the over-45s prefer their own four walls: almost a quarter of them watch James Bond, Tatort and the like every day, and almost 40% watch them at least several times a week. And a quarter of the women surveyed also watch films and series on a daily basis. Among 15 to 29-year-olds, this applies to only 11 out of 100 people.
Series marathon with the smartphone
When it comes to watching films and series, there is one thing above all that must not be missing in the home: the TV. The box flickers in more than 80 percent of European households. In Switzerland and Austria, a laptop or computer is also sufficient for a third of respondents. Women are slightly more likely to use a TV than men, while the latter are more likely to warm their legs with a laptop.
Almost half of 15 to 29-year-olds opt for a smaller screen, be it a laptop or a smartphone. For 60- to 79-year-olds, on the other hand, the TV is almost unanimously the device of choice, at 93%.
Home theater gadgets, on the other hand, are rarely found in living rooms or bedrooms in Europe. Streaming devices such as Apple TV or Google Chromecast are most likely to be found in Germany and Italy; in Switzerland, they are a rarity at 9%. Here, men also seem to enjoy home cinema equipment more than women: 17 percent of male respondents own a streaming device and 10 percent own a surround sound system.
Italy is the streaming champion, Switzerland the streaming grouch
And how do you watch the latest Hollywood blockbuster or your favorite series at home? Paid streaming services have established themselves in Europe. Italians are the frontrunners when it comes to streaming: 75% consume their films and series in this way. The French rely equally on traditional television and paid streaming services.
Switzerland, on the other hand, prefers watching TV to streaming: Around two thirds watch traditional TV. Although half of Swiss respondents also use paid streaming services, Switzerland streams the least in a European comparison. And: Although streaming via free platforms is legal in Switzerlandthe Swiss are in last place with 13 percent compared to neighboring countries.
Online media libraries are more popular in Germany than in other countries. And DVDs and Blu-rays are not yet obsolete either: in all countries except Italy, 12 to 16 percent of respondents still pop in a silver disk for movie nights.
If you remember the preferred device of senior citizens, the result is hardly surprising: 82% of 60 to 79-year-olds watch traditional TV. The younger ones prefer streaming. And 15 to 29-year-olds and men also surf free platforms more often than the rest of the respondents.
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