The Jones

There’s a difference between being present and being part of the moment.

At events like Delphi Economic Forum, brands that don’t connect their content to the context —
the ideas, the audience, the energy of the Forum — remain peripheral.

The same applies to experiences.Without real engagement, they pass unnoticed.

What makes the difference is not presence, but relevance.

Here are a few patterns that keep repeating: from our Managing Partner

What brands get wrong at Delphi Economic Forum - Observations after 7 years working behind Delphi Economic Forum:

1. Announcing too late — and saying too little
Panel participation is often shared at the last minute, with no real reason for the audience to care.

2. Treating panels as promotion, not contribution
The Forum is designed as a live think tank. It exists to generate insight, not brand messaging.

3. Creating content that talks about you, not to them
Most brands document their presence. Very few connect with the actual interests of the audience.
The Forum’s own content is a good benchmark: i nsightful, contextual, relevant.

4. Looking like an ad in a conversation space

Brand guidelines matter. But when your content feels disconnected from the environment,
it stands out — for the wrong reasons. The more native it feels, the more likely it is to be seen, understood, and shared.

Mood of the World is is an activation we've created for Delphi EconomicDelphi Economic Forum designed to shift the conversation from opinions to emotions.
Through a dedicated landing page, audiences were invited to respond to a series of questions, helping us map how they feel about the forces shaping our world today. Each question reflected some of the most relevant global issues of the moment, always connected to the core pillars of the Delphi Economic Forum.
To ensure consistency, all questions shared a common set of core emotions—such as optimistic, pessimistic, curious and concerned—complemented by a small number of contextual emotions specific to each topic.
These emotions were translated into a color system, based on principles of color psychology, allowing each response to take on a visual form.
The outcome was a series of eight visual compositions. Not designed to be read as data or percentages, but to be experienced emotionally—inviting the audience to interpret them freely, just as they would with any work of art.