Flauder +C is the latest addition to the Flauder family and offers a regional alternative in the booming market for functional drinks. The low-calorie refreshing drink made from aronia berries and prickly pears contains Appenzell Mineral and an extra portion of vitamin C - perfect for anyone who wants to combine taste and health.

Creative signature of Studio Wurst

Following the successful summer campaign for Flauder Original, Goba is once again relying on the expertise of creative agency Studio Wurst. The studio developed a cheerful label design for Flauder +C that emphasizes the bright red color of the drink with transparent labeling.

Fresh campaign around the POS

The launch campaign, also by Studio Wurst, focuses on refreshing Blöterli and is present on posters around the point of sale and on social media. With a clear, colorful message, the campaign appeals to consumers who value regionality and innovation.

Focus on the functional beverage market

With Flauder +C, Goba aims to secure a firm place in the growing vitamin water segment. The new product combines Appenzeller tradition with modern consumer needs - a further step towards establishing the Flauder family as a brand with variety and quality.

Responsible at Goba: The members of the Executive Board Kurt Widmer, Silvia Wetli, Roland Wehrli and the marketing management under Sonja Breda and Nathalie Zellweger. Responsible at Studio Wurst: Pedro Moosmann and Nino Zuberbühler

In the digital age, it is no longer enough to impart knowledge - it must be presented in an appealing and practical way. JardinSuisse focuses on content that not only informs gardeners, but also inspires them. Winter topics such as the correct care of potted plants or sowing cold sprouts are perfect for conveying relevant messages with added value.

Example of potted plant care
With clear, practical tips such as "Only water when the substrate is completely dry" or the advice to keep winter rooms bright and cool, JardinSuisse provides hobby gardeners with helpful ideas. But the added value does not end with information - the content encourages you to get active and enjoy the gardening season.

Stories that captivate
Even in winter, the heart of every garden beats for exciting highlights. The winter blossom, a shrub with a beguiling scent, brings color into the cold months - and at the same time provides an emotional story for content marketing. "Enchanted by the scent - and the first insects too" not only appeals to garden fans, but also relies on visual and olfactory associations.

Advice and added value
JardinSuisse shows that modern content combines added value and entertainment. With practical tips, emotional stories and illustrative examples, they create content that resonates for a long time - and not only informs the audience, but also inspires them.

Creative professionals in the audiovisual industry are facing major challenges: According to the International Confederation of Societies of Authors and Composers The increasing use of artificial intelligence threatens to result in a loss of income of almost 25 percent. Musicians, composers and filmmakers are particularly affected, as their works could increasingly be replaced by AI-generated content.

Growing market, falling income

While AI providers such as OpenAI, Microsoft and Google could reach a turnover of 64 billion euros by 2028 according to forecasts, the share of value creation is shifting further and further to the detriment of creatives. AI training based on existing human works without consent or compensation remains legally controversial and could further weaken the position of creatives, according to the organization.

New challenges for streaming and music libraries

In the streaming sector, AI-generated content could soon account for a fifth of revenue. The trend is even more drastic in music libraries and background music for videos, where AI applications could take over up to 60 percent of revenue. The synchronization of moving images is also increasingly at risk.

Demand for political action

The lobby group believes that politicians have a duty to protect the value of creative work with clear regulations. Without measures, there is a threat of an "income storm" that could cause lasting damage to the entire industry.

Focus on social tensions

The Beobachter's Justice Barometer, conducted for the first time in collaboration with Coop Rechtsschutz, provides insights into the subjective perception of injustice in Switzerland. 5,500 people aged 16 and over were surveyed. The results paint a differentiated picture: While a slight majority rate life in Switzerland as rather fair, one in eight people feel that the situation is "not fair at all". The asylum system and economic development were particularly criticized. Around half of those surveyed are bothered by the fact that foreigners who commit crimes are deported too rarely. Almost as many complain about the rising cost of living, with which wages are barely keeping pace.

Dwindling trust in the elite

The barometer also shows that trust in the state, politics and the economy is eroding. Many fear that the interests of the general public are no longer adequately represented by the elite. At the same time, the results shed light on a number of systematic injustices that are strongly influenced by individual perceptions and political attitudes. Political scientist Cloé Jans sums it up as follows: "We are living in polarized times, you can clearly see that."

Annual analysis planned

In order to continuously monitor social developments, the Justice Barometer will be conducted annually in future. The opinion research institute GFS Bern is responsible for the scientific implementation.

Soon it will once again be "Who will be 'Advertiser:in of the Year' 2025?". We have been selecting personalities from the Swiss advertising and communication scene for over 45 years. Since 2023, it is not only the high-caliber jury that decides who will be nominated, but also the opinion of the community.

We are looking for people who are active in the industry as service providers in the broadest sense. They should have distinguished themselves through outstanding achievements and represent the local industry as opinion leaders and ambassadors. It is irrelevant whether this person works in an agency or freelance and whether they work in a creative, strategic or advisory capacity.

The nomination takes place via the free newsletter from m&k advertisingweek.ch will take place. One person can be nominated per subscriber. Please provide the full name and explain in one or two sentences why this person should be given a chance to become "Advertiser:in of the Year" 2025. The nomination window opens on Monday, December 9, 2024 and closes on Friday evening, December 13, 2024.

After the nomination phase, the m&k editors review the entries. The ten most frequently mentioned nominees are presented to the jury, consisting of the last ten "Advertisers of the Year". Each jury member can also nominate an additional person.

From the final list of nominees, the jury will select a top 3, which will be announced in spring 2024. As in previous years, voting will again take place via the newsletter of m&k advertisingweek.ch will take place. Further information on the voting will be communicated in due course.

You can only take part in the nomination and the official voting in spring if you are a newsletter subscriber. If you have not yet done so: Sign up today for our newsletter to receive relevant news from the industry daily and free of charge as well as the chance to vote! Your details will of course be treated confidentially. They are only used to prevent multiple nominations. All personal data will be deleted immediately after voting.

We look forward to your input and wish you a happy Advent season.

Your m&k Werbewoche editors

A possible re-entry is to be re-evaluated at the end of 2025 if fundamental improvements in the Association of Swiss Student Bodies (VSS) become apparent by then, the University of Zurich Students' Association (VSUZH) announced on Friday. Improvements are needed in terms of cooperation and transparency.

According to a joint press release issued by the two organizations on Wednesday, a media report on the pro-Palestine student protests in May 2024 contributed to the escalation of the conflict. According to the report, the student association of the University of Zurich demanded a partial boycott of Israeli universities, which the national association criticized.

The VSS regrets that there were errors in communication in connection with the discussions surrounding the student protests, according to a press release issued on Wednesday.

For the VSUZH, however, the withdrawal was necessary in order to use its own resources specifically for the concerns of UZH students. The university should remain a place where difficult and controversial topics can also be discussed - without fear of personal attacks or the suppression of opinions, the VSUZH wrote. The association regrets that this step has been taken.

For fear of negative reporting and to avoid being accused of one-sidedness, the topic of the Middle East conflict is being kept to a minimum at universities, according to the VSUZH. Universities have a responsibility to create space for constructive dialog.

In mid-May, student pro-Palestine protests took place at numerous Swiss universities. Among other things, the groups called for an "academic" boycott of all Israeli institutions and a ceasefire in Palestinian territories. The protesters also accused the universities of having a clear political position on the Middle East conflict. In the course of the protests, university buildings were occupied. (SDA/swi)

"Knowledge is good, (our own) experience is better: with this in mind, we have taken on the process of climate accounting ourselves as pioneers in our industry and have been able to gain important experience," explains Vincent Furnari, CSO, Practice Head ESG at Team Farner and Managing Partner of Kirchhoff in Germany. "Together, we want to make our way to climate neutrality - step by step. With our carbon footprint, we have now reached the first milestone in the development of a Team Farner-wide sustainability strategy," says Melanie Faithfull Kent, CEO of Team Farner. "In the coming years, we will include other partner companies in the carbon footprinting process."

In the consulting business, greenhouse gas emissions are primarily generated in the areas of electrical infrastructure, building management and mobility. The joint assessment showed that around 25 percent of the four partner companies' emissions are attributable to employee commuting, 17 percent to business travel and 15 percent to the vehicle fleet.

"Our mobility is the biggest driver of emissions and at the same time the most important lever for potential savings," explains Dominic Thalmann, Senior Consultant and responsible for ESG/Sustainability at Farner. "Not only can we derive our own reduction targets from our carbon footprint data, we can now also provide our reporting customers with the necessary Scope 3 emissions data for their carbon footprints."

The creative ranking of m&k shows how Swiss agencies fared at the most important national and international creative awards. The ranking will be published in the first print edition of m&k in the new year and online at m&k online published.

Points from the main competitions - D&AD, One Show, ADC*E, Eurobest, ADC Switzerland and Effie Awards Switzerland - can be used for this year's creative ranking. In addition, there are again five international and five national competitions to choose from, from each of which the three best results can be counted towards the points from the main competitions.

New entry conditions since 2023

Last year, the conditions of participation were adjusted to ensure better comparability over the years and a more accurate result.

Participants from the past five years are automatically included. Those who did not enter or win any of the awards that count, but were listed in the ranking in previous years, will be marked accordingly.

Those who have not actively participated in the last five years but have won or been shortlisted for at least one of the relevant awards are also automatically included in the ranking.

This changes - in part - the concept of the "debt to be discharged", which m&k has pursued so far for the implementation of the creative ranking. Participants are still cordially invited to take part in the to complete and submit the form themselves so that they have control over their points distribution from the outset. For those who do not submit a form but are included in the ranking in accordance with the criteria just mentioned, the agency is responsible for the count - the points are always distributed in favor of the agency. There is also a control round.

Download form

Please download the current form. On the left-hand side (main competitions, green) enter as many award wins as possible, on the right-hand side (5+5 competitions, yellow) select the three awards that give you the most points.

Download form Creative Ranking 2024

The same rules apply as last year.

• If a campaign has won several awards (for several individual subjects) in the same jury category, only the highest award will count.
• Only one award per category and campaign will be recognized.
• Work in which a substantial contribution to the work comes from Switzerland is eligible for points. If a Swiss agency submits work for a foreign agency, the latter is not eligible to participate.

Please return the completed form by December 18, 2024 at 12 noon at the latest on sarah.willi@galledia.ch and johannes.hapig@galledia.ch.

Review of the 2023 creative ranking

After almost two decades in the top 5, Ruf Lanz once again made it to the top of the 2023 creative ranking, followed by Wirz and Team Farner. Read more here the article.

In 2023, Agence Trio was commissioned to develop an exhibition about Lausanne station and the Léman 2030 project for SBB. The mandate included the creation and realization of an interactive space dedicated to the various people interested in the future of rail transport in Lausanne and the rest of French-speaking Switzerland. The exhibition aims to immerse visitors in the mobility of tomorrow's railroads. Trio collaborated with Miss Camping for the realization.

The various stages of work that make up the "Léman 2030" program are of key importance for mobility in the region. To make the complexity of these projects and the associated challenges tangible for the population, they should be presented in the exhibition in an easily accessible way.

Visitors encounter a series of stops that allow them to travel into the future of mobility and immerse themselves in the various stages and aspects of the renewal of the rail network. There are interactive elements such as buzzers, models and screens at each stop.

Lausanne station plays a special role as one of the cornerstones of "Léman 2030". The future station is presented as a living space that has a lot to offer - beyond the mobility hub.

The exhibition is located on the 4th floor of Place de la Gare 1 with a view of Lausanne station and follows a sustainable logic by designing the material to be movable and renewable. It is open every first Wednesday from 5pm to 7pm and every third Saturday of the month from 10am to 12pm. Private visits can also be arranged. be booked.

Advent, Advent. As excessively as calendar doors are being opened and window frames decorated for Christmas, frames are currently being opened and thematically decorated in meetings. But it's not just in the run-up to Christmas that the verb "frame" has found its way into the lingo of advertisers, marketers and "communicators". It has been haunting meeting rooms for some time now and, according to the Duden dictionary, means to classify, categorize or assign something. Doing this seems more important today than in the past.

There is no other explanation for its almost excessive use. The word has been around for a long time. It was the sociologist Erving Goffman who coined the term "framing" in the 1970s and launched it within what is known as frame analysis. This is a kind of interpretation scheme that helps people to classify everyday experiences and categorize social experiences and events. In times like these, a good thing. The more complex everything becomes, the more we want to put situations into existing schemes of experience or frameworks in order to understand them. We can only answer questions such as "What is actually going on here?" in a reasonably satisfactory way if we place them in the context of what we have already experienced, otherwise a situation is neither meaningful nor comprehensible to us. So it's understandable that everything is being framed at the moment. And still difficult.

It's all about marketing

It was framed in sociology and psychology and from there it went via theater and film studies into our industry. And as it happens, our industry craves new words and then uses them in abundance.

If we question the elections in the USA, the war in Ukraine and the Middle East, climate change, migration, violence, housing shortages and other topics in order to understand what is going on, that makes sense. When political organizations and actors in the foreground and background frame issues to the point of manipulation in order to influence us, it becomes difficult. In a country like Switzerland, where the media is almost exclusively owned by billionaires, we have to deal with the question of how and by whom public opinion is shaped and major topics and news are framed.

Why should we also question campaigns, subjects or advertising texts in marketing meetings? Can't we simply judge them as good, bad or semi-successful in our meetings? This is only about marketing, not about society or even life and death.

Let's leave framing in the fields of psychology, politics and media analysis. Let's only use it in marketing and communication when it comes to consciously or manipulatively influencing or questioning perceptions. Let's be more careful about where something is being framed and where it is being judged objectively. Otherwise we will be like Truman Burbank in the film "The Truman Show", who only realized that he was not in real life but in a TV show when a spotlight fell in front of him. So, question the big frames and stop framing marketing decisions - please. Instead, open and decorate doors and windows not only during Advent, but also in your mind.

* Benno Maggi is co-founder and CEO of Partner & Partner. He has been eavesdropping on the industry for over 30 years, discovering words and terms for us that can either be used for small talk, pomposity, excitement, playing Scrabble, or just because.

Since 2017, the Swiss Advertising Client Association SWA and Leading Swiss Agencies LSA have been collecting and publishing a meaningful price/performance index for media contacts.

Newspapers and magazines have been characterized by major changes in recent years. To take this into account, the selection of titles was fundamentally revised for the following analysis. The adjustments to the selection of titles - in particular the inclusion of high-reach but low-cost titles from the group of special interest titles - have significantly reduced the price-performance ratio compared to the previous selection.

Although many curves show a downward trend compared to the previous year, in most cases this is not an effective decline. Rather, based on the old universe of securities, there has been an increase in the price-performance ratio. The year 2024 could therefore be seen as a new start (index 100).

On TV, the planned thousand contact price (CPT) for older target groups remained stable overall, although it continued to rise in German-speaking Switzerland and Ticino, but fell significantly in French-speaking Switzerland. Among younger target groups, the planned CPM is rising constantly throughout Switzerland. The reason for this is that they are increasingly using digital and new channels.

In the cinema, the index value for Switzerland as a whole and the entire population rose slightly (+1.2 points).

In radio, the MPLI measures the situation with a delay of one year. By the end of 2023, an increase in price of 1.9 points can be observed across the whole of Switzerland and the entire population.

In the OOH market, the figures can now be reported again following a change of method in the SPR+ model. A new index point (index 100) was defined as the starting point for 2023. In a year-on-year comparison, some steep price increases (+6.2 points) were recorded across the whole of Switzerland and the population.

With the annual publication of the Media Price/Performance Index MPLI, the LSA and SWA associations want to make a joint contribution to transparency in the Swiss media business. The price/performance development of digital channels is currently missing from the index because the dominant players in this area are reluctant to "show their cards", as the associations put it.

Download MPLI 2024 (LSA, SWA)

In his opening speech, Igem board member Roger Baur from Ringier Advertising emphasized the growing importance of gaming as an advertising platform. This was followed by five presentations on key findings and concrete implementations.

Andreas Weiss from Mediaschneider presented gaming usage in Switzerland based on the Igem Digimonitor study. 53 percent of the population aged 15 to 75 play games occasionally, 20 percent of them even on a daily basis. This applies equally to women and men. The target group is therefore correspondingly large, but also diverse in its gaming preferences.

Luca Hartmann from MYI presented how brands can inspire gamers. Using several short customer cases, he showed that there is no blueprint for successful brand campaigns in the gaming target group. They are also difficult to reach via traditional online advertising due to installed ad blockers. In Switzerland, 65% of male gamers under the age of 30 use an ad blocker to suppress online advertising (compared to 37% of the overall population, according to the Digimonitor study). Accordingly, he gave the audience key questions to help them develop the right campaign for their brand and goals.

Tim Buzzi from Goldbach presented gaming ads as a network product. The global industry is worth 214 billion US dollars - and gaming is no longer a niche hobby in Switzerland either. Nevertheless, the sector is barely represented in the media mix in this country, despite a large target group and growth potential. Buzzi shed light on gaming advertising and highlighted examples and potential, but also the challenges in this area.

Sam Lutz from Drop8 showed how advertising in the gaming environment represents an opportunity for advertisers. The amount of time people spend gaming is higher than that spent on music/podcasts or online news and is almost on par with social media and TV. Despite this high usage time, advertising spend in gaming is almost nine times lower - a huge untapped opportunity for advertisers. It also enables a unique increase in reach: in-game advertising is not a mere extension of digital channels, but offers a unique opportunity for an incremental increase in reach. Some of the target group in Switzerland can no longer be reached via traditional media such as TV, news websites or social media - gaming can close this gap.

Arend Hendriks from League-M / NetGrowth showed how advertising can be placed not only within the gaming world, but also in the wider environment. Using practical examples from Swiss brands, he made it clear that in-game advertising often has strong similarities with outdoor advertising and that there are exciting opportunities to reach the brand-affine target group of gamers in their extended community.

"The event shows the increasing relevance of advertising in gaming environments. Uniform standards and further research are crucial in order to exploit the full potential," summarizes Roger Bauer. "Igem will continue to make its contribution by giving gaming a prominent place in the Digimonitor study."