Ronald Focken

Brands, power and myths

Donald Trump is a complete failure. Above all when it comes to marketing. He is a textbook example of what not to do. He should have known better.

Donald Trump – oh dear, not him again. On this side of the Atlantic, we don’t want to see, read or hear any more about the presidential impersonator over on the other side. Not until we receive the news that he is finally gone. At least he appears to be working hard to make that happen. And despite all the signs of fatigue, this actually makes him interesting. Especially for those involved in marketing. After all, when the Americans elected Trump to head of state, for the first time it was not a politician taking office but rather someone who consistently denies being exactly that. In fact, Trump was a brand up until then, just like Coca-Cola, Oreo or Ariel. Something people see on TV so often that they’re bound to try it out at some point. However, things have been going wrong for the Donald Trump brand ever since.

There are of course a number of political reasons behind this, but these are only one part of the story. Trump regularly crosses red lines – the one surrounding the events in Charlottesville was clearly one too far. He made it clear that he is not just suspected of xenophobia, racism and anti-Semitism, but does in fact sympathise with far-right radicalism and neo-Nazis. If Trump the businessman were less narcissistic and if he didn’t surround himself with so many bootlickers, he would probably have a word with his head of marketing in light of the resulting situation. It’s like McDonald’s only wanting to sell the Big Mac and nothing else. Trump insists on serving the old-established customer base, which all polls indicate has since become a substantial minority. He never tries to appeal to a new clientele. Perhaps he’s not even interested in being re-elected?

In that case, a personality brand such as his can be an extremely positive thing, and advertisers would be happy to see more of it. We need only take a look – in a much more harmless context, of course – at coffee roaster Albert Darboven, who advertised his beans on television. Or Claus Hipp, the friendly baby food patriarch. These are people who can build trust. Faces that represent a product as well as the company that produces it. They convey truthfulness. However, the Trump brand, which should represent the president for all Americans, has become a fake.

He has meticulously built up this image of a tough property mogul who has become a billionaire through unconventional methods and good old elbow grease (something we can’t know for sure, by the way, since he stubbornly refuses to reveal his tax returns). The old “anybody can make it” story. In marketing, there exists a classic triad for brand trust: Raise awareness, generate sympathy, and arouse the willingness to buy. Trump’s election was simply a case of job done. The electorate bought into him. If you look at it from a business point of view, he succeeded in establishing his brand in a completely new market. The superman of the business world was now going to show politics the ropes. But then, egomaniac that he is, he began unnecessarily cutting those ropes.

Trump’s success as a campaigner is also down to the economy of attention prevalent in today’s world. Twitter, the preferred communication medium of the US president, gained an unexpectedly high number of new users in the first quarter of this year – nine million. 8.9 million of those are attributed to Trump. The respected New York Times and Wall Street Journal have also recorded a noticeable growth in popularity since he entered office. Clearly, people are looking for more than just news, and want signposts to help them navigate the jungle of information brought about by the Internet. After all, the web is not just a convenient source of daily information, but also a hotbed of misinformation due to its over-abundance. Too much, too quick, too often, and too unreliable – we are inundated with news and click bait, whether from politics or economics, with everyone trying to vie for our attention. We look for guidance and direction in this jungle. In other words, we look for truthfulness and trust. That’s what brands stand for. Once I have found “my” brand, my world is in order and I can confidently leave everything else aside.

One might then interpret a brand as being a good thing. It isn’t. It is only good for sales. In politics, for example, the brand of populism has massively increased in value in recent years, as analysed by Giovanni di Lorenzo, editor-in-chief of “Zeit”. He spoke about this during his keynote speech at “Best Brands” – an event where the best brands in Germany are awarded prizes. Populism means simple orientation with clear guiding principles and, above all, with enemy stereotypes. Which brings us back to Donald Trump. His populism has not only damaged his own brand, but this movement as a whole. The populists have been unsuccessful in their attempts to gain power in the Netherlands and France, and the story will be the same in Germany. It’s impossible to win in Trump’s wake.

The guy has a knack for marketing, as he demonstrated during his campaign. But politics is not his thing. That’s why he continues to act as though he’s still on the campaign trail. As much as we like to rant about politicians, The Donald makes it clear that even this job is one for professionals. It would be interesting to find out the course that his company’s business takes in light of the political debacle. According to the US press, after Charlottesville, charitable associations no longer wanted to book his golf club in Florida where they would have held events for a lot of money. And apparently he has been unable to sell a holiday villa in the Caribbean, even after lowering the price. Perhaps this is down to the “dictator chic” style of the interior design. Unfortunately we don’t know any more details.

What cannot be ruled out, however, is that the Trump brand has become a financial burden on the Trump company. After all, the most important thing for a brand these days is the product (something often underestimated or overlooked by those responsible). Whoever makes a promise about a product needs to keep it. If the detergent doesn’t actually make clothes whiter, then customer confidence – the essential capital of the brand – quickly disappears (by the way, have you noticed that this type of advertising is barely used anymore? There is a reason for this!). If the president just keeps producing sound bites and failing on his promises instead of getting down to politics (which we are actually used to with politicians, but didn’t expect from this anti-politician), then something is wrong with the product. Quality has never been more valuable.

 

This article was also published at Horizont. 

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Moe Jawhar

You won’t need a turtleneck to be creative

We often ask our self the question, where do good ideas come from? and we seem to be sure that a great idea is born in a single incident, Eureka! .. like Newton’s apple.

Moreover, we think creative ideas come from the selected few, guys with turtleneck sweaters and rounded glasses, or it has to be written somewhere in their title, they also have to work in a special place, preferably with a lot of colors and bean bags .. and the occasional pool table.

The first truth is, ideas take time to be form, it’s usually the collection of everything we face in our lives, the problems, the challenges, the stuff we read online, a story our mom told us at a certain point, and although you may not know it, your brain files all these information for later use.

Ideas are created in our daily lives, in the cultures we live in, so if you are a creative person, an accountant, a photographer or a cook, you can find inspiration everywhere, and if you remember that ideas come from creative collaboration and the impact of and the role of users and consumers in creating your ideas are guaranteed to elevate to an upper level.

The second truth is, ideas are more likely to come from the combination of different thoughts that clash together, you see why workshops are important, for an idea to be born it needs a collision, a friction if you may, that challenges the single thought in a purpose of improving it or creating something completely new out of it.

Best examples of innovations around the world we created or only find its true purpose by customers, end-users, people who created beautiful things that would not have been created by big corporations because they couldn’t see the need, the opportunity: they didn’t have the incentive to innovate.

This is a huge challenge to the way we think creativity comes about. The traditional view still follows in much the way with think about creativity – in silos.

Ideas are problem-solving, seizing opportunities, creating a change but ultimately selling a product. And if an idea doesn’t deliver on any of those goals, then it’s a waste.

Sadly, you see a lot of “waste” around us, beautiful execution and products that cost a lot of money and the most expensive media touch points, but no results, no sales, no test drives, no interest.

We need to have a mindset that allows everyone to contribute, under one roof or many, from any department, client or agency, small business or big… trust me it makes a difference.

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Serviceplan Group

So, what does a Creative Coder do?

Let’s get started with the creative coder. Hopefully Ret Lauterbach, technical director at Plan.Net Technology and Stephan Enders, head of innovation studio in the Plan.Net Group, can help us figure out, what creative coders do for a living.

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Brett Cameron

Digital Retail…Really?

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Why is e-commerce always reported as taking away from bricks and mortar sales? Is this really the competition? Shouldn’t all brands be embracing both aspects to deliver a cohesive journey? Shopping malls are as popular as ever, however, our purchasing habits have evolved. The problem is mall and retail experiences are stubbornly antiquated.

Our shopping experience typically begins in the carpark and yet these are a barren wasteland when it comes to delivering a positive sense of arrival. Then what about way-finding inside the malls? There has been some improvement in recent years, and the Dubai Mall App is a leader in this area, however the ongoing prevalence of traditional static grid-style location maps and the lack of smart apps that can identify your location while feeding you relevant brand information means the experience in most malls continues to be underwhelming and disconnected. Then once you enter the retail store, and if you are time challenged and shop for clothes like me by pointing at a mannequin and telling the sales assistant that’s what you want, then you are typically limited to the 5 or 6 static mannequins that are on display, despite the myriad of combinations created by that brand’s designers and displayed on their online site.

However, change is coming. Amazon’s purchase of Whole Foods for $13.7B suggests an overhaul of the retail experience is coming and could see an integration of their payless Amazon Fresh Pickup concept. Imagine the world without the horrible experience of queuing at the supermarket check-out…it’s almost too good to be true!

When I meet with a retail brand, the first thing I ask them is how they believe they are offering a genuinely different experience in their space. Often their positioning is very good online, but it is somewhat lacking in the physical space making it difficult to see what attributes will connect customers emotionally to the brand. Furthermore, if digital connectivity does not continue into the physical space then crucial data on the purchasing habits is lost.

Without the appearance of an ‘always on’ experience in the retail space, then the message is that the retail environment is always one step behind the online offering. To retain a top-of-mind position then brands need an integrated programme of in-store digital interaction, online activities, in-store events and co-branded experiences that reiterate how the brand is an integral part of our life.

This article was first published by People Retail magazine.

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Vera Yu

Seven social and economic trends in China

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On June 27th 2017 I have given a speech at the „International Roadshow 2017: China Insights“ to German enterprises in Munich with the title „The Future is Now“. I have shared some current social and economic happenings in China that are influencing the future, including consumption upgrade, sharing economy, live stream, and cash-free lifestyle, at the same time I have unveiled some business and marketing potentials embarked behind.

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Matthias Harbeck

The meaning of ‘creative’

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What does creative mean?
What a question.
Ideally, creative is something one just is, without any lengthy discussion.
However, if I must.
Here goes:

Creative is new, unpredictable, capricious.
A smartass take on this is that being creative is a paradox. It is the meaningful combination of things which do not belong together.
And then you suddenly just get it.

The word “meaningful” is important. Randomly combining thoughts, feelings and forms usually ends in confusion. Creative combinations on the other hand must make sense – but ideally not until they are in the mind of the consumer. If he or she completes the chain of thought, decodes the ultimate meaning of a film or a picture then, test institutes please take note, the effect is much stronger than when everything is pre-digested.

Actually, “consumer” is a word that I don’t really like to use. Yes, ultimately, advertising is concerned with selling, but the more messages rain down upon us “consumers” the more we only take heed of the relevant ones. That can be the much-quoted “right product at the right time in the right medium”. Programmatic is the key word here. However, the crucial factor is that the better a message is packaged, the stronger – again – the effect. I prefer to side with “Saint” Sir John Hegarty, and refer to “the public” rather than to “consumers”. We want to sell to consumers. We want to entertain the public. What is good is that a well-entertained public buys more than a well-informed public. After all, we speak of a “buying mood”.

What is good entertainment in a creative form? It’s more than just fun. It’s a new, stimulating thought, for example. A new perspective on life, giving rise to the observation, “Wow, I’ve never really looked at that in that way before”. That is what we remember, that’s what we like to tell other people about.

Good creation thrives on strong feelings. Being enthused, touched, unsettled, buoyed up, amused, everything that moves you. Tedious lists of information do not move me. I am moved by good stories which end with a surprise. Human stories which turn my prejudices and my neatly ordered thoughts inside out and upside down, which develop a dynamic of their own, never to serve their own purpose but that of the brand. This is easy to say, but damn difficult to realise every day.

Of course, creative also means unyielding, untiring and tough. Here’s a good thought: it is not ideas which set good creatives apart from bad ones but their refusal to give up.

P.S. I’m quite proud that I didn’t use the current buzzwords “disruptive”, “diversity” and “digital transformation” a single time in this text. But if you need to, my dear public, just add them mentally where appropriate and then you too will get it. 😉

This article was published in German at W&V.

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Mike Rogers

Cannes Lions 2017 Jury Presidents: Mike Rogers, Health & Wellness

Serviceplan Health & Life creative partner Mike Rogers on judging a category with endless ways of execution.

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Robert Mc Govern

Facebook & Snapchat are battling it out to change the way we visualize the world around us

They say that a picture is worth a thousand words. And that’s probably never been truer than it is today. It’s no surprise that people are communicating less and less through text these days – and more and more through visual means on mobile messaging apps and social media platforms in particular.

Instagram may have kick-started this trend a few years ago on social media, but Snapchat dragged it into the personal messaging space and other platforms have followed suit, so much so that now, rather than using digital imagery as a way of simply documenting and presenting our lives, we actively use visuals to communicate in the place of text. Snapchat has been the poster child of this movement over the last 3 years or so, tripling its daily active users to over 160 Million. Not content at being left behind, Facebook has copied pretty much every visual messaging feature that Snapchat has popularized on each of its four platforms – Instagram, WhatsApp, Messenger and Facebook.

While facial lenses and basic image editing have become a bit of a commodity on social messaging channels though, both platforms are trying to branch out from this to a more ‘augmented reality’-style future where users can actively overlay digital elements onto whatever they are looking at in real-time. Think Pokemon Go, although much more interactive and responsive to your actual surroundings. Snapchat describes it as “painting the world with 3D experiences”.

Snapchat may have been the catalyst for this trend, but it seems that Facebook are innovating at faster speed. At the company’s recent F8 event Mark Zuckerberg launched a host of new 3D camera effects, highlighting a renewed focus on creating a ‘camera platform’, an onus on the camera not simply being a tool used just to capture images, but to communicate too. He even went as far as to say that the camera needs to be more central than the text box in all of their apps.

This is a way for Facebook to fully insert itself into the real world, to become the link between your smartphone and everything you see around you. Speaking to BuzzFeed News, Zuckerberg expanded on this approach, “Facebook is so much about marrying the physical world with online. When you can make it so that you can intermix digital and physical parts of the world, that’s going to make a lot of our experiences better and our lives richer”.

Demoing these new 3D camera effects, one Facebook engineer pointed his phone at a table and a 3D propeller plane appeared on the screen, flying around a water bottle on the table top. Another used his phone’s camera to turn the room into a planetarium, with planets and stars spread out across the ceiling. Another took a normal photo of a face, then manipulated the expressions into a smile and then a frown.

Facebook also showed off various 3D scenes created entirely from a handful of 2D photos. The scenes had real depth to them, allowing viewers to tilt their head to see behind a bed in a room, or peer around a tree in a forest. Users could dim the lights in the image of a room, flood it with water, or even leave a digital object in the room that would still be there for someone else to discover at a later time.

The ultimate idea here is to turn the real world into an extension of Facebook itself. While Zuckerberg highlights examples like using Facebook’s camera to view pieces of digital art affixed to a wall, or to play a digital game overlaid on a table-top, you can see the long game here – dragging elements that would normally appear in your feed, for example, into the real world. But as well as pieces of content from your friends and family, surely this means ads too. As the traditional Facebook Newsfeed takes a back seat to messaging apps, this could be one way of keeping this type of content relevant going into the future, as well as expanding their ad inventory in the process.

But what will this mean for brands when consumers are living in an augmented world, constantly interacting with and visually manipulating their surroundings? And what happens when we are all wearing AR glasses or contact lenses 24/7? Visions of a Minority Report-esque world where ads bombard us at every turn spring to mind, but surely there must be another way. I guess we’ll have to just wait and see.

This article was published first in the Campaign Middle East magazine.

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Florian Haller

Business is becoming increasingly digitalised and more international

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Florian Haller, CEO of the Serviceplan Group, explains in an interview with Marketing Review St. Gallen on how the agency group is positioned and on current developments in marketing. He was interviewed by Sven Reinecke, Director of the Institute for Marketing at the University of St. Gallen and Friedrich M. Kirn, CEO of MIM Marken Institut München GmbH.

At the University of St Gallen (HSG) we teach students marketing and management. However, many of the people employed by agencies have not studied these subjects. You are a rare example of someone who has. Do you think that your training was helpful or would you choose a different approach now?

I benefited greatly from my time at HSG. And that’s because the advertising agency business has undergone some extreme changes over the last 20 years. Our core business used to be driven by gut instinct and was primarily creative;   I suspect a technical angle would not have been at all useful then. That’s all completely different now. Advertising agencies operate in a much more strategic and complex way. Advertising used to run on four or five channels; now we’re faced with twenty to thirty.  Not only that, these channels are also supposed to be interconnected. Apart from that, numerous new careers in the sector have developed over the years and now we can’t even imagine the advertising landscape without them:  just consider the digital forms of advertising. Business models have also developed enormously. It is nowadays essential that the management of a company the size of ours is based on strategic and theoretical principles. In this respect, I have no doubt that my course at the University of St. Gallen provided me with fundamental knowledge of great value. I think it’s a shame that so few high-achieving graduates from prestigious universities choose to work for large communication agencies.  However, maybe we should take it upon ourselves to put out a stronger message about the jobs and promotion prospects we can offer.

What were the events in your career so far that you would consider particularly “critical” and which have brought you insight?  

Each of the key points in my career was a real “aha moment”. Starting, obviously, with the course in St. Gallen and the “St. Gallen Management Model”. The most crucial thing I learnt was that managers should not settle for a superficial approach, but must recognise structures. The understanding and development of structures result in the design of successful strategies. Contact with businesses was strongly encouraged at St. Gallen: we gave presentations and contributed to manager seminars early on in the course. Even though we were quite young, it was quite normal for us to come into contact with senior management from Swiss and European companies. As a matter of course, this resulted in contacts which have endured now for decades. While I was at university, I realised how fantastic advertising can be. Incidentally, it was not clear at the time whether I would go to work in my father’s agency at some point.

Starting at Procter & Gamble after I graduated was an important time for me.  Going to Brussels and working for a pan-European brand in an international team was great fun.  The management helped us young marketing professionals feel personally responsible for our brands and we related very strongly to them. Over the six and half years at Procter & Gamble, I gradually realised that I would eventually want to work more independently so I joined my father’s agency.

How do agencies differentiate themselves from the others? Positioning, vision and principles at most PR agencies are very similar with little room for individuality, the focus is on brand management and creativity.

That’s true.  It is really difficult for an agency to set itself apart from the others in public perception. That is simply because agencies must live up to certain values. Customers expect agencies to be highly creative and not to damage their brands. It’s in their nature. There are no uncreative agencies.

We distinguish ourselves on the market with our four ‘i’s: innovative, international, independent and integrated. We are independent and partner-led.  We have an integrated structure, which, it should be noted, is not just theoretical, but actively part of our practice in the Houses of Communication. In our agency, traditional PR people work closely with media planners, data analysts and market researchers. Each agency within the group is a standalone unit. We have depth of specialisation but also integration. We achieve this by giving the teams geographical proximity and grouping them into customer teams. The other values that distinguish us are innovation and internationality.

Companies are increasingly pursuing a “one-brand” philosophy. Serviceplan operates as a group, but maintains very many “subbrands” and regional links. Is that not contradictory at some level?  Is it still necessary to maintain such a pronounced national presence in these global times?

There is a distinction between the service level and the brand level. At the service level, we do have separate agencies for specialist areas. For example, one undertakes nothing other than business intelligence. Another specialises in search engine optimisation. We see these specialist agencies as tools which customers can buy individually. Very specific expertise is developing in the specialist units.   Creatives look for other creatives and people working with technology need technology enthusiasts. As a group of agencies, we need to create the right environments and find employees that fit into the various areas. On the other hand, we are trying to cut back on the brand level. We don’t want each service area to have its own brand. That is not sustainable on the market. That’s why we have a brand for the creative product in the broadest sense:  Serviceplan. We have a brand for the ability to deal with channels – Mediaplus. The Plan.Net brand represents the digital segment, Facit covers market research and our newest brand, Solutions, deals with the realisation side of the business. The service areas are organised under these brands.

Does it make any sense at all now to maintain a regional presence in so many countries and on so many continents or should agencies rather look for synergies in the individual markets?

The Serviceplan Group is the first German agency to have a significant international presence.  We have either our own offices or partnerships in other countries. We currently have a presence in more than 35 countries, ranging from France to Dubai to China. Although Germany is so export-oriented, no German agency has ever  operated on such an international level as Serviceplan. This is unusual because German companies are valued for their reliability and technology-oriented thinking, amongst other qualities.  Global players such as BMW want to work with partners who can design international advertising campaigns and localize them for the country in question, so a company needs different expertise in the various markets. Anyone planning a campaign for the BMW 7-series must understand the Chinese market where many more cars are sold than in Germany, for example. In a nutshell: our customers are adamant that internationalisation is essential. I must point out that internationalisation is hugely enriching for the Serviceplan Group. Kick-off events at which teams from China, Europe and the USA get together and jointly develop a vision are memorable experiences for me. Internationalisation is unquestionably also an emotive matter for us. It is clear that our expansion concentrates on hubs which are economically significant. It is important to us that the agencies in the different countries are independent and look after their customers.    Synergies are created between countries, of course.

Serviceplan’s “House of Communication” model has integration at its heart. I don’t want to ask you about your favourite campaign – no one likes to rank their customers –  but which Serviceplan campaign best showcases integration?

(He laughs) We provide every customer with the service that is right for them. I am proud of that. Our day-to-day operations produce real flagship projects, of course.   I am proud of much of the work we do for BMW in which we combine creativity, media and the digital approach. A good example is the launch campaign for the i8. It is quite simply a fantastic product and developing the campaign for it was a pleasure. And then there’s the global aspect and the roll-out on every channel. This is a challenge even for a large agency. Everyone likes to see a satisfied customer. However, there are also less high-profile cases which I find really exciting. For example, we developed a campaign for the German Bar Association that worked mainly on a viral basis. Innovative thinking is paramount in a case like that.

360-degree communication is frequently called for – however, SMEs with modest budgets prefer an 80:20 approach.  Can you give examples of when “integrated PR” might not be the aim and what the importance of branding is?

In my view, the term 360-degree communication is not very helpful. The primary aim today can’t be to advertise on every single possible channel. Firstly, there probably is not enough money in most cases and there is also the question of the logic behind it. Innovative concepts do take careful account of the channels available, but try to find an intelligent way of linking that makes sense sequentially.

The current trend towards digitalisation presents us with more than one issue. Increasing digitalisation has the effect of bring the competition closer together. I think this makes the brand more significant. There used to be high barriers to entry. Customers had to go into a shop for advice before deciding on a new jacket. Nowadays we have the Internet and it is normal to carry out the comparison with a series of mouseclicks. It is therefore easy to defend the proposition that brand work today is as important as never before.

Research is currently examining the subject of “sponsor activation”. Why is sponsorship in many cases, despite the high costs of rights, insufficiently used and integrated in brand management?  Are there any examples of best practice?

The Serviceplan Group has a small business unit which is concerned specifically with sponsorship. This is an exciting subject and sponsorship can be enormously effective advertising. At the same time, sponsorship will never occupy a central place in agency operations.  Sponsorship decisions are often made with a great deal of emotion and caution is advised especially in planning a budget. Anyone who invests in a sponsorship, which usually involves a considerable sum of money, must ensure that enough remains in the budget to follow up with advertising.  Only this approach makes sponsorship efficient.

The communication landscape is diverging into many parts; it’s almost impossible to keep track of it.  The digital advertising sector is dominated by two major players. What will communication and advertising look like in 2015? How are corporate budgets changing, what is happening to the work done at agencies and by other market players such as market researchers

I’m not at all concerned about this. There are many subjects not discussed in the current hype surrounding digitalisation. Going forward, companies will still need partners who can develop creative ideas. Even in digital advertising, there is a huge need for consultancy. Agencies which rely on their purchasing power in the media will disappear, because computers will take on this work. There are still no answers to the questions of which customer data I can have, what price do I pay for it and how do I segment the available data? The need for consultancy will grow, not diminish. When I translate my channel strategy to Google or Facebook, it is probably  quite clear which channels my budgets are being used for. That is not something that advertising customers will want. Our future opportunities will lie in using different sources and putting together efficient offers for our customers.

Looking ahead: what will Serviceplan look like in 15 years time?

Let’s be happy if Serviceplan gets through the next five years successfully. Joking apart,  whatever happens, we will be even more digital in 15 years time. The proportion of digital services at our company is already over 50%. Today, 30% on average of our customers’ advertising budgets is spent in the digital area. The topic of data will be important in the future. Serviceplan will be doing more content marketing than is currently the case and will be even more international. Despite the justified scepticism concerning the frantic collection of data and the analysis of big data in many countries on this earth, we in Europe must be careful that we are not left behind. I am a committed defender of data protection and the controlled use of data, but the future will be to a great extent digital and the business models developing from this future are also digital. If we want to participate in this massive trend, we must remain open to the digital world. Particularly in advertising, we must ensure that it is not only companies in the USA in their safe harbour that do everything that is not allowed here and earn good money with it.  It is therefore important to stop people being afraid of Big Data.

Finally, can we have a few words on your commitment to Switzerland, where Serviceplan of course has a branch?

Happily. My father is Swiss and so am I. I did my military service in Switzerland and I’ve studied and worked there and I have many reasons to be grateful to the country. All things considered, we are the largest Swiss agency in the world.  Switzerland is also an important market for us, because it is a hub for companies with international operations.  For example, we work for ABB international global, which is based in Zurich. I feel very at home in Switzerland.

This interview was published in Marketing Review St. Gallen.

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Robert Mc Govern

I love this Samsung Gear VR Ad

It’s refreshing to see the new ad for the Samsung Gear VR that focuses on VR’s ability to let the viewer experience something rather than just watch a piece of content.

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