Ruedi Wyler
Jury Chair, Trade Advertisements
What is so groundbreaking about this year's Gold campaign?: The last Gold campaigns were and are not really groundbreaking. But at least they are outstanding. The fashion campaign for Big is close to showing the way how it can be done.
How would you rate the level in your category?
Wyler: The standard in my category was good to very good. So we were able to make practical use of the quota. However, I didn't discover any new trends.
How is the quality of this advertising vintage in general?
Wyler: There have been better vintages. But that shouldn't necessarily be down to the creatives.
Your conclusion after 26 years of ADC: Has the standard of the submitted work increased, remained the same, or deteriorated?
Wyler: 26 years ago, people had different expectations than they do today. From that point of view, the standard is certainly higher. But in England or Holland or elsewhere, we have nothing to report, with a few exceptions.
Are there any newcomers to be spotted, or did the ADC habitués win once again?
Wyler: It was more the ADC habitués. They also make up the majority of the club.
Which works do you give a chance for the Cannes advertising festival?
Wyler: Perhaps the "rosary ad" for Laax, perhaps a campaign by Claude Catsky that found no favor here, but will certainly cause a sensation internationally.
Has advertising become bolder?
Wyler: No, on the contrary. But that's hardly down to us.
What importance do you attach to lobbying in such competitions?
Wyler: We all lobby somehow, if only by greeting each other in a particularly friendly way at the judging. However, all the jurors do their best to judge the works fairly.
Based on the advertising, will you now buy one of the award-winning advertised products?
Wyler: Of course, it's not that simple. But there is a causal link between good advertising, brand image and the decision to buy.
Has this competition raised your professional pride as an advertiser to a new high?
Wyler: Are you seriously asking that question?
Has there been any work that has achieved art status for you as an art director?
Wyler: I sometimes thought that it was an art to sell this or that work to a customer.
How would you rate the level in your category?
Wyler: The standard in my category was good to very good. So we were able to make practical use of the quota. However, I didn't discover any new trends.
How is the quality of this advertising vintage in general?
Wyler: There have been better vintages. But that shouldn't necessarily be down to the creatives.
Your conclusion after 26 years of ADC: Has the standard of the submitted work increased, remained the same, or deteriorated?
Wyler: 26 years ago, people had different expectations than they do today. From that point of view, the standard is certainly higher. But in England or Holland or elsewhere, we have nothing to report, with a few exceptions.
Are there any newcomers to be spotted, or did the ADC habitués win once again?
Wyler: It was more the ADC habitués. They also make up the majority of the club.
Which works do you give a chance for the Cannes advertising festival?
Wyler: Perhaps the "rosary ad" for Laax, perhaps a campaign by Claude Catsky that found no favor here, but will certainly cause a sensation internationally.
Has advertising become bolder?
Wyler: No, on the contrary. But that's hardly down to us.
What importance do you attach to lobbying in such competitions?
Wyler: We all lobby somehow, if only by greeting each other in a particularly friendly way at the judging. However, all the jurors do their best to judge the works fairly.
Based on the advertising, will you now buy one of the award-winning advertised products?
Wyler: Of course, it's not that simple. But there is a causal link between good advertising, brand image and the decision to buy.
Has this competition raised your professional pride as an advertiser to a new high?
Wyler: Are you seriously asking that question?
Has there been any work that has achieved art status for you as an art director?
Wyler: I sometimes thought that it was an art to sell this or that work to a customer.
