Fachwerk Advertising from Sursee will be the official communications partner of PharmaDavos from 2025. This underlines the agency's expertise in developing innovative and compliant communication solutions for the healthcare industry.

In recent years, Fachwerk Advertising has impressed with smart campaigns for pharmaceutical manufacturers and social recruiting for pharmacies. "Where rules set limits, we unleash our creativity. With passion and a spirit of innovation, we develop solutions that not only meet the strict requirements, but also arouse emotions and leave a lasting impression," says CEO Nektarios Thanasis. "The collaboration with PharmaDavos is a great opportunity to further expand our expertise and strengthen communication in the healthcare sector."

The partnership with PharmaDavos will enable Fachwerk Advertising to provide pharmacies and pharmaceutical manufacturers with even more targeted support and increase their visibility in the industry. "We are looking forward to the agency's collaboration and creative impulses and are convinced that their expertise and experience will make a valuable contribution to our communication strategy," says Natascha Rohrer from the PharmaDavos organizing committee.

Over the coming months, Fachwerk Advertising will support PharmaDavos in its planned activities to optimize communication and better address the needs of pharmacies and pharmaceutical manufacturers.

At the beginning of the year, Spotify announced that OSK would be taking over PR work for the DACH region. Annalena Schmitz, Jasmin Faller, Lilla Kara and Charlotte Gravert from OSK will act as contact persons with immediate effect. At Spotify, Alexa Doerr is Head of Communications DACH and the central contact person.

The agency will provide the media and interested parties with the latest information on Spotify, including news on music and podcast trends, streaming data and insights into the company's working world.

With its Trend Report 2025, the global marketing agency Biggie presents a comprehensive analysis of key developments in marketing. The report shows how technological and social change is radically transforming marketing and which strategies companies need to pursue in order to remain competitive.

The "messy funnel": a challenge for data-driven strategies

The traditional purchasing decision has changed considerably due to fragmented target groups and the abolition of cookies. In the "messy funnel", the decision-making process becomes confusing and traditional methods of performance measurement no longer work. Biggie recommends data-based approaches such as marketing mix modeling, brand impact tests and panels to optimize performance and precisely address target groups despite increasing intransparency.

Artificial intelligence: driving a cultural revolution

Biggie identifies AI as the most significant driver of marketing in 2025, fundamentally changing work processes as platforms such as Meta, Google and TikTok develop specialized AI campaign formats. Tools such as Meta's "Advantage", Google's "PMax" and TikTok's "Smart+" are opening up new opportunities for companies to run automated, targeted campaigns. The report advises brands to test these new formats at an early stage and compare them with ongoing standard campaigns in order to assess the added value.

Multi-screen advertising: boundaries are blurring

In the multi-screen era, the traditional boundaries between television, streaming and mobile content are disappearing. Viewers stream series on smartphones and watch YouTube videos on smart TVs. Connected TV (CTV) and networked devices open up enormous potential for advertisers, but require a clear strategy for integrating different platforms. AI will help to tailor advertising to viewer preferences and improve the viewing experience.

The new influencer marketing: long-term and immersive

Biggie sees influencer marketing reaching a new level of maturity. Instead of simple product placements, brands are increasingly focusing on culturally relevant collaborations and immersive content that creates deep engagement. Micro- and nano-influencers offer particular advantages: With their authenticity and local community ties, they appeal to specific target groups and provide brands with relevant reach at a regional level.

Biggie's conclusion: act innovatively, be future-proof

Companies will face unprecedented challenges in 2025, but can turn them into opportunities through the intelligent use of AI, data-driven strategies and creative influencer marketing. Biggie's trend report provides a clear outlook on upcoming developments and offers concrete recommendations for action to successfully shape the future of marketing.

Circus Knie, one of Switzerland's most traditional cultural assets, is launching a new communications strategy in 2025. Following a successful pitch, the Swiss national circus is relying on the expertise of Ferris Bühler Communications. The Baden-based agency will support Circus Knie with a focus on PR and creative stories in order to further strengthen its visibility and inspire audiences outside the circus tent.

Doris Knie, Administrative Director of Circus Knie, explains: "Our Circus Knie lives from its stories - from the magic of the circus ring to the people who work behind the scenes. In Ferris Bühler Communications, we have found an agency that tells these stories in a creative and authentic way, thus spreading the enthusiasm for the circus."

Ferris Bühler, founder and communications professional at the agency, is also looking forward to the collaboration: "It is a special honor to be able to provide communications support for such a traditional and emotional Swiss cultural asset. We are looking forward to enhancing the magic of Circus Knie with creative storytelling and putting the spotlight on the people both in front of and behind the scenes."

The partnership begins with communications for the upcoming 2025 tour, which once again promises unforgettable moments for young and old alike. With a creative approach, the agency wants to focus on Circus Knie's unique combination of tradition and innovation.

Despite ongoing uncertainties, 60 percent of the advertising clients surveyed expect their sales to increase in the new year. Around 26% see no change in turnover and only 13% expect a decline. They expect a similar revenue trend as in the previous year. 45% expect an increase, 35% expect no change and only 19% anticipate a decline.

2024: more sales and more earnings

Last year, 82% of advertising companies recorded either the same or higher turnover. This led to an increase for around 44% of those surveyed and to unchanged earnings for around 40%. Only around 18% of companies reported a decline in turnover and 17% in earnings.

Stagnation of communication budgets in 2025

While 51% of advertising companies do not intend to make any changes to their communication budgets, slightly fewer (21%) will increase their budgets than reduce them (28%). This trend is also confirmed by the statements on the development of media budgets.

Consistency in the marketing channels

The breakdown of the marketing and communication budget shows no surprises for 2025. Just under a third (29%) will be spent on traditional (offline) marketing, 13% on event marketing and everything else on digital channels. Social media (12%), display ads (11%), content marketing (10%) and the company's own website and search engine marketing (8% each) account for the largest budgets.

Investments in content creation, branding and sales

In 2025, advertisers want to allocate the most resources to the marketing disciplines of content/campaign creation (25 percent), brand strategy/brand building (24 percent), sales support (19 percent) and marketing operations (16 percent). All other disciplines are less in demand. Sales and Marketing Operations were up on the previous year.

Digital continues to grow - offline remains under pressure

While advertisers plan to split the media budget roughly equally between digital and offline communication, significantly more respondents (38%) want to spend more money on digital than offline (13%) in 2025. However, the proportion of those who want to invest the same amount in offline/online channels is almost the same (55%). Only 6% want to invest less in digital media in the new year, compared to 31% of respondents for offline media.

Classic dominated by OOH/DOOH, print and TV

As in the previous year, within the offline media budget, the OOH/DOOH segment is likely to benefit most from an increase (25.9%) or the same amount (42.4%) of advertising investments.

Direct marketing is also likely to see an increase (19.5%) or the same amount of investment (37.9%). For print, 45.3% of respondents want to invest the same amount, but 31.4% want to invest less and only 7% want to invest more. In contrast, the same number of customers want to invest more or less in TV (9.3%) and 25.6% do not want to make any changes. It is striking that 45% of respondents cannot afford or do not want to invest in TV, 50% in radio and 57% in cinema in 2025.

When it comes to the specific media budget distribution, OOH/DOOH (28%), print (28%) and TV (20%) are the clear top 3. Direct marketing comes in fourth place with 17.6%. All other traditional media (including radio and cinema) each account for less than 3 percent.

Video before display and search

In 2025, digital campaigns will be booked directly (50.2%) and programmatically (49.8%) in roughly equal measure. This is roughly the same as in previous years.

The most popular forms of advertising are clearly video (31.3%), followed by display (29%), search (23.2%) and native (14.2%). Video has thus taken the lead here and search has lost some ground. The distribution among individual providers was not surveyed in the current industry indicator.

Data and customer management as top challenges

Once again, there is little change in the challenges facing advertising clients in the new year. The same topics are at the top of the list as last year. Only this time, "data management" (83.5%) has taken the top spot. The other top topics are "improving customer experience" (78.8 percent), "customer journey management" (77.6 percent), "digital transformation" (73.8 percent) and "artificial intelligence" (71.8 percent).

When choosing an agency, the main focus is on recommendations

The most popular source of information for selecting an agency continues to be personal recommendations (88%) and clearly stands out from all other sources of information. Other important sources of information are the agency website/social media (49.4 percent) and contacts with agency management (48.2 percent). This is followed at a clear distance by the trade press (27.1 percent), the LSA website (25.9 percent), creative rankings (14.1 percent), the LSA ranking (14.1 percent) and the Effie Awards (3.5 percent).

Personal chemistry and culture are most important

The three most important criteria for agency selection are unchanged from the previous year:
Firstly, personal chemistry/culture (97.6 percent), secondly, understanding of the role/skills (83.5 percent) and thirdly, references (74.1 percent).

In addition, agency size (32.9%) remains a relevant criterion mentioned by clients. All other mentions such as rankings, memberships or certifications are each below 4 percent.

Chemistry Meeting as a popular evaluation tool

Chemistry meetings (39.4%) are now clearly the most frequently cited method for evaluating an agency. This is followed by the written request for proposal (25 percent), the competition presentation (20.6 percent) and the direct award (17.6 percent). The trial order (9.5 percent) or the strategy workshop (5.2 percent) are less popular.

The companies surveyed currently work with a good six agencies. Of these, 37% of advertising clients have had this relationship for over 5 years, 45.7% for 2 to 5 years and 11.1% for 1-2 years. Only 6.2% limit their collaboration to the project in question.

Agency support remains constant

Advertisers plan to invest more in the following areas at their top 3 agencies in 2025: Content (40.2 percent), Marketing Technology (32.1 percent), Brand/Communication Strategy (28.7 percent), Media Strategy (27.8 percent) and Creation (26.8 percent). Less will be spent on Live Com (34.7 percent), among other things.

Quotation and agile pricing as the most common form of remuneration

When it comes to the remuneration of agencies, the most common options are the offer and agile pricing (on a time and material basis). Percentage fees and team hire follow slightly behind. The performance-based fee model is rarely used.

Climate remains an issue

For a good third of respondents, the carbon footprint of an advertising campaign is important or very important. Another third answered neutrally with "neither" and for a further third, sustainability is less or unimportant. Nevertheless, 47 percent of the companies surveyed are already carbon-balanced.

 

Media providers and marketers have a duty to protect the climate

A good 35% of advertising companies believe that media providers/marketers are responsible for the climate. In this context, 23.5 percent of respondents would like to see transparency regarding the media's carbon footprint and 11.8 percent would like media providers/marketers to take on the compensation of non-reducible emissions in addition to transparency. Just under 19 percent of respondents said that agencies should calculate emissions and manage them with their customers.

A further 16.5% of companies believe that the advertising industry has no need to take action on climate change and 15.3% want to leave the issue to politicians. Only around 12% of respondents believe that advertisers should determine, reduce and offset their own CO2 emissions in advertising (including media).

Versatile use of AI

AI is penetrating numerous areas at advertising companies: Translation (82.7 percent), content creation (72.8 percent) ad creation (53.1 percent), data analysis (48.1 percent), automation (46.9 percent), programmatic advertising (34.6 percent), personalization (32.1 percent), campaign optimization (29.6 percent), social media (21 percent), predictive analytics (18.5 percent), sediment analysis (13.6 percent) and lead generation (11.1 percent).

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Between October and November 2024, a total of 143 advertising clients in German- and French-speaking Switzerland took part online in the "Industry Indicator 2025" by SWA and LSA, 139 from German-speaking Switzerland, nine from the French-speaking part of Switzerland. Participants were recruited on a personal level. The aim was quality over quantity and it was crucial for meaningful answers that only people who are actually responsible for marketing communication and involved in working with the agencies receive the questionnaire. The detailed results can be obtained from the offices of both associations.

Trend 1: Hesitation reflex - fake when in doubt

So now we have reached the point where a majority of people are meanwhile assumes thatthat digital content does not always correspond to reality. This Loss of confidence leads to a "Procrastination reflex" and by no means only concerns the search for information, but also purchasing decisions, product evaluations and social interactions.

In a moment several Trend reports are therefore addressing the omnipresent issue of fake content and the loss of trust in society. Against this backdrop, the latest announcement from Meta acts as an accelerant: Instagram plansto introduce an AI editing function next year that will allow users to "change almost every aspect of their videos". With a simple text input, video content can be reshaped without the need for users to have detailed knowledge of video editing or manipulation.

For media and communication providers, the balance between the use of technological innovations and verifying the truth will be all the more challenging in 2025. On the one hand, media companies will have to actively combat misinformation and at the same time use privacy-enhancing technologies to build trust. On the other hand, the demand for user-generated content will continue to rise as it is perceived as more authentic. Whether Codes of ethics, Labels or new technological tools We will see over the next few months whether the new products actually provide a counter-response to the loss of trust and useful assistance in everyday life.

Trend 2: Platform deals - from conflicts to cooperation

Set 2023 is the year of the hypemade himself Disillusionment spreads in 2024The talk is of AI developments in companies and the associated dealings with the big tech players. Questions about the authorship of the language models and their training data remain unanswered. Publishers and media companies are reacting differently to this: while some are using the crawlers of the AI models block - such as The mirror, BBC and HuffPost - or Complaints such as the New York Timesothers such as Axel Springer, AP, Le Monde and Prisa Media Strategic license agreements or build internal AI solutions, such as Bloomberg or the Financial Times.

The range of different approaches to dealing with AI strategies shows one thing: the switch from search and reach models to AI-based solutions has once again massively increased the financial pressure on the media industry. Strategically, publishers are faced with the challenge of navigating between offensive and defensive approaches. Some organizations hope that the partnership approach will generate new sources of revenue, while others fear being forced into a defensive position.

From the past Transformation cycles However, most have learned that nobody wants to miss the boat and jeopardize long-term competitive advantages through hesitation and passivity. The next few months will show which strategic approach is ultimately the most effective and whether deals with the big tech players will really prove to be sustainable.

Trend 3: AI agents - the advance of autonomous everyday helpers

2024 was the year of prompts and chatbots. The transition from AI tools with isolated tasks to autonomous, agent-based solutions is now underway. These personalized AI agents will embed themselves almost invisibly into everyday life. At least this is how several Trend reports the near future. The first steps in this direction were taken with the presentation of the Apple Intelligence and ChatGPT integration in the smartphone search are already visible.

According to Dentsu three out of four consumers worldwide assume that most aspects of their lives will be controlled by AI in the next ten years. In the long term, personalized agents, so-called Personal Large Action Models (PLAMs)be seamlessly integrated into digital and real life, for example via apps, smart household appliances or vehicles. These agents learn from our behavior, act without conscious input and at the same time respect data protection and personal preferences.

But the challenges are still immense, as Forrester points out in its trend reportThe integration of AI models into our everyday lives requires more computing power, a better database and specific expertise in the application. Deloitte and Capgemini see great potential in software development and in the area of cyber security. Media and communications companies will once again face a double challenge: On the one hand, they will have to implement such large-scale action models internally, and on the other, users will expect such applications and services in media products in the future.

Trend 4: Search 4.0 - personal answers instead of lists of results

2025 marks the end of a formative Internet era. Because what has developed in recent years has already become apparentwill definitely prevail this year: With the rapid expansion of new AI search capabilities, such as ChatGPT Search, Perplexity and GeminiThe way we traditionally search for information on the web is coming to an end. The fact that a few keywords deliver a series of unspecific results already feels anachronistic today. Gartner assumes thatthat the volume of traditional search engines will therefore fall by 25 percent by 2026.

And this doesn't just apply to representatives of younger generations. Many users today switch fluidly between specific information searches and intuitive browsing for new information. This results in a New usage requirementsThe rapid availability of an individual "clear" answer to every possible question. Up to now, this has been achieved through personal exchanges and, in some cases, the opinions of influencers via social media.

If media houses and other organizations in the communications industry want to be able to respond to these needs, they must create smaller, parallel User funnels and create personalized access. At the same time, new ways of engaging with target groups are required, in which the authentic relationship and Ritualization are the top priority. Only in this way will organizations be able to free themselves from their current dependence on search engines.

Trend 5: Money, money, money - everything becomes a marketplace

The boundaries between information procurement, entertainment and e-commerce are becoming increasingly blurred. Large retailers are investing massively in high-quality media offerings and advertising platforms, for example Digitec/Galaxus, Autodoc or Walmartwhile media houses and social media platforms are increasingly mutating into sales platforms - TikTok, for example, now has 15 million retailers worldwide.

Dentsu predicts that by 2025, a major streaming provider will buy a major retailer - or vice versa. The aim of such a takeover would be to diversify the business, strengthen customer loyalty and tap into new sources of revenue by merging advertising pools.

However, this commercialization also has its downsides: Almost half of the users increasingly perceive the online experience as a forced purchase. With this excessive monetization of information and entertainment content, companies are risking the trust of consumers. Creators play in this change 2025 will play a central role: there is an increasing gap between controversial AI influencers and authentic Micro- and nano-influencers from.

Trend 6: Instead of doomscrolling - a new longing for real moments

Sooner or later, every trend generates a Countertrend. "Social rewilding" - the conscious movement towards authentic connections and experiences in the real world - represents a new Accenture the counter-movement to the future of AI. Characterized by the Effects of the pandemic yearspeople increasingly value depth and meaningfulness in their interactions. People are looking for a balanced approach to technology in order to "Doomscrolling" to prevent. The increase in E-Ink cell phones and Dumbphones are visible manifestations of this trend.

The search for more depth and meaningfulness includes social contacts as well as unique and unforgettable offline experiences. Consumers want to connect more with their environment - often, but not exclusively, in nature. Brands that can successfully translate their online communities into real advocates in a real-life context are becoming increasingly important. This combination of digital reach and physical experiences creates lasting memories, enables long-term engagement and new revenue models.

Organizations in the media and communications industry are predestined to create such emotional moments of remembrance by bringing their stories to life offline. This is evidenced by the increase in Live podcast recordingsnew Journalism festivals and even the Building a journalism house. 2025 is the year in which such offline concepts will become a mainstay in the financing mix of media organizations.

Trend 7: Leadership challenge - between autonomy and control

2024 was a challenging year for companies in the media and communications industry - but other sectors faced similar difficulties. Jobs were dismantled and processes for efficiency trimmed. 45 % of employees in Germany were employed in 2024 according to a PwC study a higher workload than in previous years. The financial pressure on managers has led to team restructuring in many places. Decision-making authority was once again located in the hierarchy. This also included increased controls and "Back-to-office instructions.

However, these hierarchical decision-making structures slow down the work of teams and reduce their ability to adapt to changes and uncertainties, a Study by the University of Mexico recently discovered. This is because the increased tracking and strict control mechanisms lead to a feeling of a lack of autonomy among employees, which has a negative impact on motivation and creativity. has an effect.

Managers will face major challenges in 2025: Gartner comes in their trend report concluded that managers are not sufficiently prepared to lead change. It is by no means enough for managers and politicians to be "Simply more desire to work" from employees. Rather, leadership in 2025 must finally be rethought, as in several Trend reports to hold fast. This is the only way to meet the major challenges of the labor market - from Change fatigue from sustainable personnel development and skills shortages to diversity and cross-generational collaboration.

Trend 8: Psychological safety - healthy work culture as a competitive advantage

The greater the shortage of skilled workers, the more creative the solutions for attracting and retaining talent. Personalized benefits, such as flexible working time models, health offers or tailored further training programmes, are becoming increasingly important according to the "LinkedIn Big Ideas 2025" and others Trend reports a strategic advantage for organizations.

However, the reality in companies often points in a different direction: with difficulties in implementing a desired corporate culture. According to the Gartner Trend Report, more than half of HR managers report in a study from 60 countries that managers do not effectively exemplify the prescribed values and corporate culture. This makes it difficult to establish a consistent and motivating work culture. This also includes the promotion of mental health. The Increase in burnouts and mental stress calls on companies to establish proactive measures such as case management, mentoring programs and clear prospects for personal development.

A toxic working atmosphere not only poisons the mood within the organization, but also takes revenge on the employees. financial level. The trend towards a working world that increasingly focuses on resilience, Psychological safety and the well-being of their employees will therefore be all the more important in 2025.

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* Konrad Weber is a strategy consultant, trend researcher and coach in the field of corporate and team transformation. He advises management teams from large companies to start-ups on the development of new strategies and supports teams and organizations during far-reaching changes. He has been building bridges between content and technology for over 15 years - before becoming an independent consultant as a digital strategist at Schweizer Radio und Fernsehen SRF with several years of experience in project management and strategy development.

All sources and trend reports used by Weber in his guest article are can be viewed in the original on his website.

The Bern-based digital agency Ads&Figures won a pitch and has been in charge of BVZ Holding's digital performance marketing for the Matterhorn Gotthard Bahn and Gornergrat Bahn since January 2025.

Ads&Figures is taking over the areas of social media advertising, programmatic advertising, search engine advertising (SEA) and data & analytics with the aim of significantly increasing the online visibility of both platforms in the Swiss and international markets in order to further increase the number of online bookings.

Go 2 Flow was founded in 2019 and supports e-commerce companies in achieving their digital goals and profitable growth. The agency Tree Stones was founded in Lucerne in 2008 and has also established itself as an expert for digital solutions in the e-commerce sector and has built up a strong reputation in the industry.

Synergies and advantages

The integration of Tree Stones into Go 2 Flow creates numerous new opportunities, as detailed in a press release. On the one hand, innovative approaches can be promoted thanks to the combined expertise. On the other hand, the acquisition will increase the customer base and strengthen Go 2 Flow's market presence in Switzerland. In addition, the integration of Tree Stones' best practices and processes will also increase the quality and efficiency of Go 2 Flow's services.

"The acquisition of Tree Stones is a significant step for our company. It enables us to expand our range of services and offer our customers even more comprehensive solutions in the digital sector," said Olivier Gachnang, CEO and founder of Go 2 Flow.

From January 1, 2025, Burgdorf will publish official notices on public projects such as votes, construction projects and decrees online on the portal ePublication.ch. This was decided by Burgdorf's municipal council, as the town writes in a press release.

The non-digital population will be able to print out and obtain publications at the counter if required, the statement continued. In addition, the voluntary publications will be available from January in the newly created section in the newspaper D'Region appear.

According to the press release, the ePublication portal is operated by the State Secretariat for Economic Affairs (Seco). In addition to Seco, its sponsors include several cantons and the Swiss Association of Communes. (SDA)

m&k: Jason Romeyko, You are one of the most successful creative directors of your generation. Why did you return to Publicis?

Jason Romeyko: First of all, Publicis Groupe 2024 is very different from "my time". I spent 23 years at Saatchi & Saatchi, which was and still is an independent network within the overall company - of course, the formal affiliation came about at the beginning of the new millennium, but we were still a long way from "The Power of One". Now, in 2024, Publicis is "united" - a "supergroup" of global talents, across numerous disciplines and regions, with different brands. That's why the whole thing feels less like a return and more like a new beginning. Under Alex Haldemann's leadership in Switzerland, something very innovative and fresh has emerged, but humanity has not fallen by the wayside. I very much appreciate how he, Switzerland CFO Edgar [Magyar, editor's note.] and the entire team do that.

 

So you didn't join out of nostalgia.

No. At Serviceplan - the last stop in my career - I led a German agency to international creative excellence. Now I wanted to get back to building brands and culture ... and of course I had UBS on my mind because I had been following the Credit Suisse takeover. Then everything fell into place: I met Alex Haldemann, John McDonald [Group CMO at UBS, editor's note]. and Winfried Daun [Group Head Brand, Creative and Innovation at UBS, editor's note].I took a closer look at what was happening at the bank - and thought: "Wow, that's really exciting!" (laughs)

 

Where did you start your work for UBS?

We are fortunate to be able to work with the fantastic claim "Banking is our Craft". UBS elevates banking to a "craft" in the best sense of the word because the institution has 160 years of experience, 100,000 experts worldwide and a great clientele. It connects people, cultivates relationships and relies on technology and innovation.

Many things can thrive on such fertile ground. We can create "above-the-line communication" that reaches people; that shows them what we are capable of - and at the same time report on the successes of our customers.

In a second step - as soon as people understand what UBS does, how good the bank is - we strive for communicative excellence. We want to create advertising that transcends the financial bubble! Of course, we need the right colleagues for this: Filipa Mauricio, for example, our Creative Director, who brings an unerring sense of style to campaign artwork. Or Jonas Poehlmann [Managing Director at TeamUBS of Publicis Groupe, editor's note]who masterfully orchestrates organizational details and structural subtleties.

 

You seem enthusiastic when you talk about your plans.

I am too! I'm really looking forward to making the UBS brand known far beyond the world of financial services. The biggest challenge and the greatest conceivable success would be to make the bank the institution with the most creative awards in its segment ... to develop a "pull effect", arouse interest and then show other agencies or - at some point - my successors in TeamUBS: "You can also talk about banks like this." If that works, it would be fantastic.

 

Speaking of which, you have just added new elements to the UBS campaign that you are leading. Would you like to tell us something about it?

We went live with the audiovisual work "Crafted for You", which shows the successes of international UBS clients in four stories. You can see what ambitions they have and how the bank's experts help them to realize these ambitions. We wanted to evoke a "premium feeling" around the brand, which is why we collaborated with cinematographer Eduard Grau - he is known for his work on Tom Ford's "A Single Man" or Pedro Almodóvar's "A Room Next Door", which was recently awarded a Golden Lion in Venice. Normally, Edu Grau hardly does any advertising, so he took a certain risk ... as did we (laughs) - But the colleagues from Radical Media balanced this out perfectly with their experience. The atmosphere on set between the client, agency, director and production company was phenomenal. I would say you can see that when you watch "Crafted for You".

I am very grateful to our partners at UBS - especially the aforementioned John McDonald and Winfried Daun, but also Cici Steinmetz - for giving us the trust, the constructive input and the tools to capture "Banking is our Craft" on film.

 

In your career, you have won more than 700 awards for your creative work. When you think back, which award makes you proud to this day; which work do you remember most fondly?

When you win awards for creative ideas at festivals, the prizes actually belong to the agency, the clients and the team - they never belong to a single person. And to be honest, awards aren't that important to me. I always think: "We're only as good as our next idea". Although, of course, official recognition helps younger colleagues in particular to get noticed in the market ... which makes me happy for them.

However, if you explicitly ask me to look back in time, I would say that on a professional level, "Life is for Sharing" for Deutsche Telekom is one of the most significant pieces of work I have had the pleasure of working on. At this point, my best regards to Hans-Christian Schwingen [Head of the Deutsche Telekom brand until 2020, editor's note].because we did this project together. "Life is for Sharing" was revolutionary in many ways, created on the eve of the omnipresence of social media - in addition to Hans-Christian and myself, Kate Stanner's [Global Chief Creative Officer at Saatchi & Saatchi, editor's note]., Paul Silburn [former copywriter at Saatchi & Saatchi, editor's note]. and James Griffiths [Global Client Lead at Team UBS of Publicis Groupe Switzerland, editor's note].with whom I am now able to work again. A great time and a result that will stand the test of time.

 

You are talking about a professional level - what about the personal dimension?

On a personal level, the work on the Vangardist "HIV Magazine" means the most to me. It's a magazine that we printed with the blood of an HIV-positive man and that is now on display at the MoMa in New York City - it has become a piece of contemporary history, a piece of culture.

I was also in the lounge at Zurich Airport the other day and saw that BMW still uses the name "Bayerische Motorenwerke", based on a campaign that I managed at Serviceplan back then. That made me incredibly happy. We "elevated" the brand by writing out the abbreviation again - and thus emphasizing what the brand stands for. It's wonderful that this continues to work in one of the most fiercely competitive premium markets.

 

To describe your methodology, you have coined terms such as "Uber-Creativity" and "Explosive Creativity". What do these terms mean - and how are they reflected in the work that you and your team do every day?

When I developed the term "Uber-Creativity", I had just become the global creative director of Serviceplan International. The agency had offices all over the world, the "Houses of Communication", and there was media, creation, design, et cetera everywhere. But there was no real sense of solidarity across departmental or even national borders. Some colleagues had the feeling that they were only managing, but not contributing to the creative vision of the company. I saw - and still see - things fundamentally differently. Bob Isherwood, the Australian advertising icon, once said: "A good idea can come from anywhere." And I take my cue from that.

 

So for "Uber-Creativity" this means...?

...that everyone who works in an agency contributes to the creative product. Even colleagues in the finance department or at reception. Everyone is part of a collective quest for innovation - when I think about it, the effort for "Uber-Creativity" is what I now see realized in the Publicis "Power of One" (laughs).

 

And "Explosive Creativity"?

I can tell you an anecdote about this: in 2004, when I was Creative Director of Saatchi & Saatchi in Moscow, we were asked to pitch for the global Campari account. In Russia, I didn't have the creative resources to handle such a task. So I brought together colleagues from different countries and cultures in Rome and we brainstormed for three days - in what we called a "tribe". Incidentally, the "tribe" concept still exists today and Publicis continues to practice it.

 

How does the "Tribe" concept work?

You get a briefing, and after twenty minutes people have to come back with their initial reactions. Then you go into a second round for forty minutes, people come back with new ideas, present; another forty minutes, present; another forty minutes, present. At the end of the first day, you have about eighty to one hundred ideas - and you start to recognize different motifs, commonalities and topoi.

"Explosive Creativity" condenses the creative process from several months into just a few days. The search is not for perfection, but for "diamonds in the rough". Everyone is allowed to say everything, no one has time for "overthinking". In normal everyday life, ideas are often "overthought", categorized as "good-bad-good-bad". When you work with "Explosive Creativity" in the "Tribe", things happen in quick succession - and instead of "good-bad", you suddenly ask yourself: "What if...?" You overcome barriers that you previously had in your head and crazy, but often quite brilliant things happen.

 

Since we are talking about variations of creativity: Are we still working with "big ideas" enough in our industry? Or have we lost our courage - and data is more or less the only thing that counts?

You know, data is everything and data is nothing. It always depends on what you do with it. We used to get consumer insights in briefings that were generated through research with rather artificial focus groups. Today, thanks to digitalization, we can see people's behaviour in real time - and without the filter of social bias that you always have to think about with focus groups. This behavioral data allows us to delve very deeply into certain processes and makes programmatic advertising et cetera possible in the first place. But for excellent creativity, for leading ideas, the "small details" are not enough. We have to go to a higher level. In the end, it all comes down to interaction and balance, as always.

 

What actually inspires you?

I travel a lot - both professionally and privately. I've always been an "observer" - the type of person who stands away from the crowd and looks at what others are doing. I look at how people interact with each other. I think about what a person's day was like, or when I see a stranger on the street, I like to imagine what they looked like as a child, what their dreams were. This helps me to remain empathetic.

 

What is the best way to develop your own creativity?

When I want to think - really think - I go for a run. It's my source of energy and mental clarity. I work best in the early morning, so I get up at five o'clock when my head is not yet "fogged" by the messages of the day; I lace up my running shoes - and sit down at my desk after a round of exercise. This is also how I connect with my subconscious and get ideas that I might not otherwise get.

I also read a lot - five publications in different languages, every morning. And I have fantastic friends and a wonderful family with whom I can talk - sometimes about very mundane topics. And then I suddenly have an inspiration. You know, if there's one thing I've learned, it's that sometimes the best ideas are born out of simplicity.

No: it is not the great swan song for the world, democracy and humanism after the election of Donald Trump with his godfather Elon Musk in tow. But their methods reflect the principle underlying the term "end-to-end" quite well: developing things holistically and controlling as many processes as possible internally. The "bromance" in the White House will probably soon do the same.

"End-to-end", often abbreviated as E2E, comes from IT and describes a holistic approach there and now also generally in project management, in which a process or system is considered, developed, optimized and controlled from start to finish. It means that all steps of a workflow or application are covered without having to resort to external solutions or subsystems. This is definitely different in the creation of this column.

The end is also the beginning

"Give me the Manfrotto from the flying case!" was my first encounter with technical jargon. I was very young, on my first assignment as a roadie in Zurich's Hallenstadion. The order came from a tattooed muscleman and I didn't understand a thing. He demonstratively opened the black wheelie bin: "Flying case!" Then he tapped a tripod: "Manfrotto!" I memorized: Flying Case = backstage rolling case, Manfrotto = tripod for mounting a follow spotlight.

I never used these technical terms again later. But technical terms have fascinated me ever since and have always accompanied me. I wrote them down in meetings, on train journeys, in canteens and corridors.

For me, technical terms are insignia of knowledge and power. If you know them, you belong, if you look askance when they are mentioned, you are disqualified. Technical terms are used at all hierarchical levels, in every situation of everyday business life, in all areas of life: for demonstration, for confirmation, for exclusion, as an end in itself and occasionally because there is no "normal" term for it.

So in 2007 I started in the NZZ Folio to "translate" dialogs from all kinds of industries under the heading "From the trade" and did so for years. Since 2016 I have been interpreting for m&k (thanks to Anna Kohler, Sarah Willi and Johannes Hapig) Terms that I encountered in the world of advertising, marketing and communication. If I didn't know them, I had them explained to me by experts. Over time, I also got a kick out of asking users about them and embarrassing them. And yes: men tend to brag about technical terms more than women. And they also like to explain technical terms - especially to women, of course. But that's all over now, at least here. After over 150 columns, it's time to stop.

Incidentally, these three terms have attracted the most attention over the years: "Crunchtime", "semi" and "Interpretative order". I was mainly asked about the latter by German colleagues who thanked me for finally understanding what the term means (back to field one), where it comes from (Swiss army) and why things take so long in Switzerland (endless loop).

Crunch time" is back in fashion: when the end of the year comes around and it becomes clear whether agencies can save the year and clients can blow their budgets. But the many clicks on the column in question probably came from a few lost members of the growing crowd of American football fans whose vocabulary "crunch time" comes from - let's be honest.

But "semi" is also topical again, but for personal reasons. It describes a feeling that is creeping around the writer right now, when writing these last lines. On the one hand, I really enjoyed doing it, but on the other, the time has come to stop. But end-to-end is always also a beginning. A beginning of something new that you can already look forward to.

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* Benno Maggi, co-founder of Partner & Partner, is handing over his column to Sarah Pally at the end of 2024. Read more here the interview.

m&k: Benno Maggi, your column for m&k started in 2016, after several years of interpreting and explaining technical language for the NZZ Folio. Why this focus?

Benno Maggi: I've always been fascinated by technical jargon. During my trial apprenticeship as a butcher, they talked about mincing, grinding, boning and hanging. These were all words that I didn't know and made me feel like an expert as soon as I used them. To this day, I still use the word "hanging" when it comes to judging something that I'm not sure is really good. Then I let it hang like meat and see if it's still good or even better the next day.

 

Why are there so many terms in the MarCom industry that require explanation? 

Technical terms are almost like a language of their own and should therefore be translated. This does not only apply specifically to the MarCom industry. This industry simply likes to steal more and more terms from outside the industry and make them its own. At least that's my assessment.

In the meantime, you have discussed over 150 technical terms for m&k. Where did you find the inspiration and what criteria did you use to select the terms?

I didn't have any criteria. I rather "random" chosen - to name one of the 150 terms right away. There's a list on my cell phone that I'm constantly adding to. Sometimes I pluck a word from it that has been on there for a long time, but just happened to fit a topical issue. Most of the time, these were words that I picked up in meetings, on train journeys, in canteens and corridors. Some perhaps only once, others regularly. And if I heard them again and again, that increased the chance that I would write about them.

 

What did this writing work mean to you?

I often knew the word and its meaning, but had no idea about its origin. The dictionary is great for that. So is ChatGPT, but sometimes I was overwhelmed or simply wrong. Writing this column often had a therapeutic purpose for me. When the use of a word increasingly annoyed me, it was healing to write about it or the people who used it excessively.

 

What was the feedback like?

At first I thought: "No one will read this." But I got a lot of feedback. Mostly positive and from a wide variety of people. Clients, agency colleagues and also from the private sphere. Sometimes just text messages: "Did you mean me?" or: "Do I really need this so often? I'll never say it again!"

 

Have you noticed a development in technical language in recent years?

Not really. Anglicisms are dominant, of course. But they always have been. When the financial industry was still subject to little critical scrutiny, perhaps more came from this corner. Today, it's more terms from psychology that find their way into marketing: Frames, Trigger, Resilience and so on.

 

In some cases, you have also been rather critical of the industry. Where do you see the pain points? 

The industry takes itself far too seriously. If everyone was as loud as the agencies, CMOs and marketing futzes, you wouldn't be able to hear your own words for all the noise. I also think that advertisers are often bad entrepreneurs. Instead of delivering clean offices and making their agencies sustainably successful, most of them want to make a lot of money quickly and win awards. They chase after big budgets or fancy brands, get tangled up in lumpy risks and end up being surprised when they have to lay people off, the agency goes bankrupt or is swallowed up by networks.

 

Are there any issues that you have not yet been able to tackle but now seem more urgent?

No. I've actually always attributed a certain urgency to the choice of terms. The first was "Funnel" for the opening of the Gotthard Base Tunnel, which last "end-to-end" before the auguration of the Trump/Musk administration in the USA.

 

As indicated in your last columnevery end also means a new beginning: Sarah Pally is taking over your column at the end of this year. Why the change now?

Sarah has also inspired me over the years. She always knew the latest shit and I borrowed a few terms from her. She is also a gifted writer and should finally publish under her own name in the industry - and not just as a ghostwriter for our clients.

Sarah Pally: I don't know if that's such a good thing to have been the inspiration for Benno's column. (laughs)

 

Sarah, what appeals to you about writing a column - and what doesn't?

I actually find writing under my own name a challenge, but that's also the appeal for me: no double bottom line. The deadlines certainly help you to jump over this shadow. Apart from that, it is of course a special form of text where the balance between relevance and entertainment has to be right - and in the smallest possible space.

 

To what extent would you like to continue Benno's column - or give it your own touch?

I will stick to my guns when writing this column. I am a linguist "by training". Our everyday life in advertising, marketing and communication is an endless source of remarkable things to do with language: from misunderstood text types to more or less successful language games - and the odd "latest-shit-would-be-technical term". I won't reveal any more.

 

What ultimately makes a good column for you?

For me, a good column is like an overlong aphorism: charming, clever, entertaining and, in the best case, enlightening. So it's not something you just "throw in".

Maggi: One that I enjoy reading and perhaps even remember afterwards.

 

Benno, what are you hoping for from Sarah's continuation of the column?

That she does her thing. With her own lightness, humor and sharpness.

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Read Benno Maggi's latest column for m&k here, "End-to-end".