Once upon a time there was Samuel Wehrli. In 1963, he started a company with a single product. He sold a hair clipper from Suhr in the canton of Aargau. The one-man business has since developed into the largest beauty company in Switzerland. Dobi unites the entire world of beauty under one roof and covers all areas of the beauty industry. Dobi only supplies and advises professional beauty experts and not end consumers. This is why the empire is still almost only known to insiders. Over 180 employees work at the headquarters in Suhr. The largest specialist wholesale center in Europe is now located there on 1500 square meters. There are also branches in Zurich and Etoy.

Dobi has recently added another chapter to its 50-year history. After a long period of research and development, several new private label lines have been brought to market maturity. "When we consider that we now sell 12,000 products from 300 suppliers in more than 20 countries, we had to come up with the idea of launching a private label," explained Division Manager Fabio Iselin at the presentation of the new "beauty brand", as it is positioned somewhat more exclusively than conventional private labels. "We are not offering a cheaper version of our branded products, but have invested a lot of expertise in developing an independent and high-quality brand." For the new Dobi products, "the best Swiss expertise, the leading Swiss laboratories and the strongest features of existing top brands have been combined with our philosophy and quality to create the new Dobi beauty brand," promises Iselin. The "Made in Switzerland" label will therefore be an important marketing criterion. The almost 2000 products from the hair, nail, cosmetics and foot care sectors are available exclusively from Dobi or from specialist retailers in salons throughout Switzerland.

The Zurich agency Neutral won the literally beautiful job for the launch of the new beauty brand in a pitch. For Managing Partner Michelle Nicole, the budget is a perfect match for the agency's expertise. The agency's portfolio also includes brands such as Bally, Bucherer and Pringle of Scotland, where the creatives around Rudolph Schürmann also like to work with elements from the world of fashion, beauty and art. For Dobi, the agency has opted for a styled photo series with the Swiss top model Nadine Strittmatter. The Aargau native is also being used by Dobi as an ambassador for various roadshows. With over 1500 course days, Dobi's in-house Beauty Academy supports several thousand participants every year. These professionals from hairdressing salons and other beauty institutes receive advice and further training on the products on offer. They are supported by 50 experts, all of whom are specialists in their respective fields. These course instructors are naturally a very important multiplier for the launch of the new beauty brand, as they all continue to run their own salons.

In the head office store in Suhr and the Etoy branch, you will also find every conceivable piece of equipment that a beauty professional needs to be successful. This also includes interior fittings and a service team that advises, installs and repairs. The service package offered by Dobi also includes an e-shop and a logistics and call center for orders. More than 3500 items are dispatched from there every day. In addition, over 800 parcels are put together every day, as Fabio Iselin was able to demonstrate at the launch of the new division. There were more than just financial reasons for this. "We also wanted to have a unique selling point. We want to have something that sets us apart from others. Something that we can say is our own baby, our own thing." pan

The marketing concept

Fabio Iselin, Head of Own Brand and Services at Dobi Switzerland, on the advertising concept and the choice of Nadine Strittmatter as a testimonial for the new beauty brand.

How did Dobi go about advertising?
Fabio Iselin: We chose an approach that I find very exciting. We went through a pitch portal where you can put a job out to tender anonymously. We received various requests. In Switzerland, it's not that often that a company launches its own brand and puts it out to public tender. Neutral was then selected for the launch and the communication campaign in a competitive presentation.

But Dobi has been around as a private label for a long time?
We now have 2,000 own-brand products. In the areas of hair, nails, cosmetics and feet. Three years ago, however, we decided that we wanted to go one step further. To focus even more on private labels. We now call them beauty brands because "own brands" sounds like cheaper versions of the brands, such as Budget at Migros. We have relaunched this beauty brand with a new logo, the butterfly logo.

Is this still only sold in specialist stores?
We have only ever positioned ourselves for professional customers. It's a dangerous step if you suddenly go into retail. It becomes watered down. The customer no longer perceives us as a professional beauty provider. That's why we wanted to focus on remaining the beauty professional in specialist retail.

What spoke for Nadine Strittmatter as a testimonial?
Nadine is from Aargau and Dobi is also a family business from Aargau. Nadine has many likeable traits. Her father, for example, works in her management, another example of family affiliation. At the same time, Nadine is an internationally sought-after model who is well-known in Switzerland. There's not that much there. We were able to experience this at our roadshow. People talk to Nadine and find it cool that she has made it out of the small canton of Aargau into the big wide world.

A noticeable home advantage?
Yes, there are young women who went to the same school as Nadine Strittmatter and other acquaintances. She's not aloof, very down-to-earth. That's what we are as a family business and I think this relationship makes for quite a good combination.

How do these roadshows work?
We offer many courses. Our seminar leaders are all still working in the profession themselves. Many of them have therefore started to take up the brand in their own salons. When we started with the launch, we wanted to promote this a little more. We held a prize draw where you could win the new products, plus an event with Nadine Strittmatter where you could celebrate being one of the first salons to offer the new beauty brand. Photos were taken at these events and sent out via social media. In the meantime, the word is spreading. The customers in the salons receive little morsels, pass them on and are delighted. It's like a snowball that is now starting to roll.

How many roadshows are there?
There are seven in total with Nadine Strittmatter. In Lucerne, Zurich, Meilen, Solothurn and Aargau. We hope that the campaign will continue, later without Nadine. But the customers of our products in the salons should spread the word: these roadshows are a cool thing. The products are of high quality and convince me. Finally: Yes, I do want to include this brand. Interview: Andreas Panzeri

WW: Mr. Weischer, why are you expanding into Switzerland?
Florian Weischer: We find Switzerland a very interesting market. We were approached from two sides beforehand. One was from our customers, who liked our marketing concept in Germany. Many of them are also responsible for the Swiss and Austrian markets, and they found the differences in the marketing concepts of the individual countries to be very significant. These customers encouraged us to take a closer look at the market situation in Switzerland. At the same time, there was a timid tentative approach from cinema operators in Switzerland. They said that we have seen that what you are doing is quite successful. Wouldn't Switzerland also be a market for you? At first we said no. Although the countries are so close to each other, you simply can't underestimate the fact that the culture is different and that the way the media business is handled is perhaps not something we can really assess. Encouraged by these voices, we took a closer look at the market and realized that it is interesting. There is a great need for renewals. The market itself is small, but not unattractive. We see great potential there. That's why we want to take a chance.

The Swiss market has always been characterized by a monopoly position of one marketer. How high will KinoWeischer's initial market share be in Switzerland?
FW: In terms of the market as a whole, we estimate that we will have a market share of around 30 percent of the cinema advertising volume at launch. That's not particularly big, but it's very interesting. Kitag is a modern cinema operator that offers us a very attractive market position. It would have made little sense to start with two or three small cinemas scattered around Switzerland. Kitag was our partner of choice right from the start, they were right at the top of our list. Now they are the first to sign up with us. From January 1, 2013, the Swiss cinema market will at least no longer be a monopoly, that's for sure (laughs). We'll see what happens next. Of course there are plans. Kitag is just the start for us. It is the first important stone. We're holding further talks with cinema operators; we'll also have another meeting today. There is a lot of interest. In our experience, the Swiss market is definitely open to discussing alternatives. However, you have to present your concepts in great detail. There is intensive discussion. You need a few rounds of talks and then there are signals as to whether the topic is viewed positively or not. We have also had this experience with Kitag. We have been on the Swiss market for almost a year now.

Will you be setting up a joint company with Kitag?
FW: We have initially concluded a contract with Cinetrade that does not provide for a connection under company law. That would be an option that could work if we wanted it to. At the moment, however, it looks like we will be starting with a classic advertising management contract from January. Preparations for this are underway. We are in the process of moving into our offices here in Zurich and are recruiting staff for the Swiss office. Our first priority now is to talk to other cinema operators. The most important thing would be that we could perhaps move a little further forward from this 30 percent market share at the start. We have the impression that many contracts with cinema operators have been concluded at short notice, i.e. there is certainly the possibility that our market share could increase significantly before the launch.

You could also buy the competitor!
(laughs) We know Cinecom well, of course. I would say that when Cinecom was last sold, there must have been beaming faces on at least one side in view of the purchase price. That was phenomenal. Today's value is certainly a far cry from that! Three years ago, we were still involved in the first round because there was naturally already interest back then. We had our new marketing concept in preparation and thought that it could also work in Switzerland. But the signals were not as clear as they are today. There was also another important aspect: the advanced digitization of cinemas. We were interested in Cinecom at the time, but dropped out after the first round because our ideas about the purchase price were too far removed from the interests of the owners (laughs). That's also legitimate, we weren't offended. After all, it wasn't sold. Apparently, other interested parties also offered too little, or the demands were too high. I don't want to judge that at all. At the time, we put the project to one side. When the voices from the market became more precise and louder, we unpacked it again. We had a rough idea of the market, as we had dealt with it in advance. We took a top-down look at the cinema operators. We spoke to all the big ones. Some of them have long-term contracts. But they know what to expect, they know our marketing concept and have followed it with great interest. They want to see to what extent they could also be affected. In this respect, we have presented the concept quite openly. We will continue to do so. This summer, we will take a detailed position on this topic here in Zurich and invite the cinema operators. As soon as the technology is in place, we will also be able to show our concept live in one of the Kitag cinemas. By the end of August at the latest, we should be able to demonstrate it in concrete terms.

What does your marketing concept look like?
Nils Schilling: When we started out with the aim of reforming cinema advertising, we conducted an extensive customer survey of advertising companies and media agencies. Our customers gave us the following feedback: A very important aspect of cinema advertising is seen as targeting specific groups within the movie-going audience. It is obvious that individual films are more male or female-oriented, that they appeal to a family audience or more to teenagers. Customers want to be able to take greater advantage of this. Another important point is the process costs: the path from master to 35mm film print was tortuous, complicated and very expensive. Then there were the requirements for flexibility and transparency.
But these are more things that happen along the way. The central question was: "How can I better address my target group in the cinema?" We have addressed this need. The concept is new in that we are no longer based on individual theater bookings. A booking for a customer is based on the target group. It selects those films that guarantee the highest possible proportion of the respective target group. The range of films is made up of these. This range of films is then purchased in the regions concerned. This is the basis for planning, so to speak. In addition, there is an accounting with box office data, i.e. real visitors to the campaign.

...a demand that the agencies have been making for years.
NS: Yes, that's true. The issue of transparency is very important. People wanted up-to-date figures, correct figures. It was the same in Germany. In Germany there is the IVW system, which means that we work with annual averages from the year before last. Not exactly the optimum in terms of timeliness and transparency. We have said that we will change this rigorously, we will count the real moviegoers for every single film from every single cinema. These will be summarized and then used for accounting. This is a big step that would not have been possible five to ten years ago. I don't think it would have been possible in any country in the world. Today, the handling of data is much more open. Cinemas also have a completely different relationship to it. Ultimately, successful attendance figures are performance data. Cinemas see it that way today. In the past, we wouldn't have been given this data, but today we can.

The change in the cinema landscape in recent years towards larger chains has certainly helped...
NS: I believe that the large cinema chains are subject to different requirements anyway. Some of them are also listed companies with fairly strict transparency guidelines. But the mid-tier, which runs a very committed cinema - this is the case in all countries - and which is also a very important target group for us, because in most cases very good cinema is made there, also sees things differently today. In the past, cinema operators were afraid that if they published attendance figures for a particular film, the competitor across the street would be able to draw any competitive information from it. Today, all sides are actually interested in using the attendance figures to generate real performance figures for campaigns. The fact that this creates more transparency in the market overall is now seen as an advantage.

About your plans in Switzerland: how far along are you?
FW: There is already a domicile address that I can announce here: it is Theaterstrasse 10 directly on Bellevue-Platz in Zurich, also known as Corso-Haus. An address with cinema history. At this address there is Thomas Berner, who represents Werbe + Verlags AG and is president of the Zurich Cinema Association. He compiles the program data of all cinemas and distributes it to the media. Some of it is also sent to digital media and for his own website Movies.ch. There is also information outside of cinema topics, such as museum, event and jazz planners. For us, Thomas Berner was not just a suitable domicile address to look for cinema-related information in his premises. This is an important strategic cooperation for us. We are super happy to have found him. He fits in very well with us, he helps us to bridge the cultural gap and pave the way. Berner runs a cinema data business. What we are planning, this Cinema Reloaded concept, is extremely data-intensive. We need to know which movie is showing where and when, and we need to do this across the board. We also want to work with him to develop a feedback system for visitor data - an aggregated figure from the box office data. That would also be something new for the Swiss market.

What does this mean for the customer in the future?
NS: I don't want to say too much about the existing Swiss system, that might sound too critical. You have to respect that, because if it wasn't justified, it wouldn't be there. The big step forward means that this offer of 500 feature films a year is made transparent. For us, the essential - let's call it intellectual - achievement is the preparation of the data for these films. This gives us a forecast of the total number of viewers, which we can also break down by region, right down to the individual cinema. And we also forecast a corresponding demographic, a target group. If you have the data on the entire film offering, you can put together target group packages for customers. If you don't have that, or if you have it inadequately and inaccurately, it doesn't work. That's the first requirement. If this is given and you can react quickly, i.e. you can schedule the campaigns precisely to the movie releases of the cinemas and at the end have the billing with real visitor numbers of these cinemas, then it is a self-contained system. If I take one element out, it no longer works. It's difficult to achieve the whole thing. It took us a year and a half to build up this film knowledge, or monitor as we call it, before we launched it on the market. We've also been working for a year on creating reference figures so that we can transfer the model to the Swiss market, because the Swiss market is different. For example - and this is completely new for us - it has three release dates for the films and at least three language versions. If you now add the different subtitle options, it becomes very extensive.

And three completely different movie preferences in the three language areas...
FW: Exactly! Switzerland is a super-complex market. But we've had plenty of time to prepare and we still have a bit of time before the launch in January. We want to make the most of this time. We are confident. The current system used in Switzerland does not provide the target group or transparency about actual performance. It is a network sale that is unsatisfactory for both customers and cinemas. The cinemas do not know their share and therefore their value in the individual campaigns. To put it mildly, there is a great deal of dissatisfaction at this point. However, such a change of concept means that you have to go the whole way: from the very first forecast to the arrival of box office data and the settlement of accounts with the cinemas and customers. Any compromises in this line lead to a worse result. NS: It also requires the conversion of each individual cinema contract. We know this point very well, because in the German market we had to rewrite 1000 cinema contracts of individual entrepreneurs. Because the cinema operator has to accept that he won't get a flat-rate, predetermined bill, which might be balanced out with freespace at the end. They are dependent on the actual performance of their individual cinemas, just as the advertising customer only pays for this actual performance. In the end, this is a new product specification. In this respect, we're aligning ourselves with the new digital media. Contact rules there too. Contacts are bought. This is the future currency that we believe will bring much joy to the cinema market. The customer can say, I would like to have 100,000 contacts for Ice Age or 300,000 contacts in a female-oriented environment. They then get this number, usually even a little more, because we keep the commercials running until the end of the week. The billing basis is then a cost per visit, a very hard, transparent currency.

So cinema is becoming a measurable medium...
NS: Absolutely! This currency can be calculated. From the customer to the media agency to the cinema owner. We can tell the cinema owner exactly what goes in at the top and comes out at the bottom.
FW: Today, we are experiencing a dramatic change in the media markets. Many markets were supplier markets in which the media had the longer leverage. Today, they are demand markets. The options for advertisers are so immense, particularly as a result of the digital revolution, that as a medium you have to operate very differently in the market today. If we don't offer the service that customers demand, we don't stand a chance. And even cinema, which is certainly one of the media with the highest impact of all - a "paradise" for advertising in terms of the framework conditions - cannot escape this. It would be absolutely fatal to say today that we can carry on as before. We also remember those days when there was a surplus demand for the big cinemas in the big cities, which we could then allocate. Unfortunately, that's long gone and we won't see it again any time soon (laughs).

How will the cinema advertising market develop?
NS: We believe that it will develop positively thanks to the new target group opportunities. Many companies can now reach their target groups precisely in cinemas. Audi, for example, can now reach its exclusive target group in Germany through certain films in art house cinemas. This is also an important point for Switzerland. We will combine these demanding target groups into bookable units.
FW: Another point that will contribute to the revival is the combination of online and cinema. Moviegoers spend a lot of time in the online world. We are making intensive use of this fact for our customers in Germany. We also offer advertising on online sites. We have contracts with websites of major cinema operators, some of which are also film portals. Today, we already run almost ten percent of our campaigns online. In a campaign for a specific target group, we accompany the user from the online preparation phase to the visit to the cinema and any online follow-up phase. This also makes the medium of cinema faster, the service can be provided more quickly and we have a feedback channel, so to speak. We will also offer this in Switzerland.

Interview: Pierre C. Meier
Photos: Pierre C. Meier
 

Julian Karrer, the founder and owner of Future Connection, was able to win Margot Heinrici, the former marketing manager of the textile company Palmers, for the management of the Vienna branch. As at the Zurich location, the focus in Vienna will be on effective communication in the SME and B2B environment, with the aim of making ambitious companies more successful, according to a statement from the agency. "I am delighted to take over the development of the Vienna office. We see it as our mission to increase the attractiveness and awareness of the client. For companies operating in Switzerland and Austria, there are exciting synergies to address their end customers even better" said Heinrici.
 

In addition to the sites already marketed by Goldbach Audience (Rtl.de, Rtlnow.de, Vox.de, Voxnow.de, Frauenzimmer.de, Sport.de, Vip.de, Wetter.de and Clipfish.de), further websites from IP Deutschland's portfolio, including Rtl2.de, Rlt2now.de, N-tv.de, Teleboerse.de and Kochbar.de, will now be added to the portfolio for both in-page and in-stream marketing. IP Deutschland handles advertising time sales for the TV stations and the online and mobile platforms of Mediengruppe RTL Deutschland.
 

"The nursing profession is a tough profession and therefore a cool one". This message is intended to attract 19- to 25-year-old students as well as interested career changers to the Berner Bildungszentrum Pflege (BZ Pflege), according to a statement from the agency. In this way, Switzerland's largest tertiary-level nursing education institution is countering the traditional image of the nursing profession, the selflessly self-sacrificing "nurse." It addresses the challenges of the profession and shows that it requires a certain amount of social and emotional competence. You can find out whether you have them in a playful, ironic way with the Tough Enough Game at Bzpflege.ch try out

In addition to advertisements and posters on buses, the second wave will promote the training on the radio and in movie theaters.

Responsible at the Berner Bildungszentrum Pflege: Encarnación Berger-Lobato. Photography: Regula Roost. Responsible at Mit der Maus: Marco Niedermann (Game Design). Responsible at Chemicalbox: Mario Buholzer (cinema spot production).

Newspaper makers follow the developments of the New York Times, Der Spiegel and the Guardian with fascination. The magic words are paid content and paywalls. There is no question that observing the big players in the industry is indispensable and inspiring. However, it is then once again necessary to do the math in the relevant markets for Swiss media providers. In order to build up critical sizes in the journalistic market, the experts must not retreat to their islands. What is needed is an open, critical debate among all market participants. An industry needs a common understanding of the performance of its products and their monetization. This is the only way for professional journalism to attract the attention of a large audience in the long term, which in turn provides an ideal environment for advertising messages. Today, the media landscape is split into a multitude of islands, each of which wants to invent the media industry for itself. Talking to readers who are independent of the industry reveals how little the strategies of media companies are linked to the experiences and needs of users. No one has yet been able to plausibly explain why they had to pay for regional media until a few years ago, but in the meantime have received practically all content on the web for free and are now encountering payment barriers again. The reason for this is that media marketing has built up legends in its own community with which it achieved opinion leadership for a certain period of time. Despite convergence, the technical merging of all communication offerings and forms on one platform, new islands have formed. The feeling of togetherness is strengthened by common friends, enemies and certainties. Isolated, it is easy to live for a while free from the stress of dealing with criticism and dissenters. The dangers of operational blindness due to isolation can only be averted by opening up. The media industry would therefore do well to network its islands with those of its customers in the user market and advertising market, as they will ensure tolerable business in the future.

In the digital world, the focus is shifting to the individual person: in future, communication flows will be managed with ever more knowledge about their activities and data. In future, data will be the oil of the economy. Targeting is the magic word. We will become the target at which information weapons can fire their ammunition in a more targeted manner, to stick with the metaphor. However, it remains to be seen whether big data will really become big business. Facebook has suffered a major setback in its attempt to follow in Google's footsteps with regard to the successful commercialization of its service platform. Those who align their business model with the successful ones of today are already being overtaken by the future, as the network is only supposedly inexhaustible globally. The challenge is to find the islands where most of the relevant communication takes place and to network these in archipelagos to prevent isolation and inbreeding.

For Swiss media providers, this means focusing on building communities. With their journalistic offerings, they weave a web of information and interpretations. The population talks to them about the development of the region, political disputes, social developments, economic risks and opportunities. If the media succeed in connecting the islands to form archipelagos, then their business model will also be secure for the future.
 

What is this about: Don't be a Maybe or No more Maybe is what it says on Marlboro's latest billboard. Finally, it says Be and the Marlboro box. So I'm supposed to be Marlboro? What a crock of shit. Before the advertising restrictions, I could have been a cowboy, after all. Marlboro is not the first, by the way. Orange also already wanted me to "Be Orange ".

Does the youth of today no longer have the mega cool and awesome He-Man language? Do they speak Skakespeare English now? That is the question. I asked some young smokers what is being communicated on the posters. The answers show that they don't even consciously look at posters and then, after thinking about it for a long time, don't really understand what is meant by May Be.

My thesis: Advertising would have the task of conveying a clear message to the consumer within one second. With many advertising campaigns, I often don't succeed in finding out what they want to communicate to me, even after intense sensing. If I don't zap away on TV, but watch the commercial break, it very often happens that my fellow viewers and I look at each other asking "did you get that? It's a pity about the viewing costs.

There are companies that have recognized this phenomenon and have the TV spot representatively tested for comprehensibility. The compromise result is usually terribly boring, and you don't even want to know what it's about. For years, the hair shampoo industry has not only explained to women what the bottle is called and what it looks like, but also how to use it: Wet your hair, take a small amount of shampoo in your hand, and then wash your hair with lots of lather. The clarification takes 5-10 sec. of the commercial. A clever advertiser once calculated that worldwide in one year over 1 billion dollars of advertising money is wasted for this washing instruction researched in the test. My calculation: Of the posters hanging at the moment, half are incomprehensible and do not reach the consumer. With a 14-day billposting price of 500 Swiss francs on average and over 150,000 Swiss advertising spaces, this results in a 50 percent ineffectiveness of 37.5 million Swiss francs. Including the Marlboro billposting.

My put-upon of the week is that our 20-year-old Long John Silver climbing rose, after this year's winter cold froze it, has now sprouted new buds and has already formed buds.

Theophil Butz, once a star advertiser (Ringier), now an inspirer and, as of now, a mothballer. "Not an easy role, but a necessary one, which I perform here every fortnight." Please send any relevant information to [email protected].

The mandate includes the complete online/offline media services as well as campaign creation in the digital channels. The first measures are already being implemented. The 4B Fenster AG summer campaign focuses on qualitative lead generation via an advertising campaign, a multi-variant online campaign with several landing pages and implementation support within Google for SEA and SEO.

Using The House Agency's own tracking and reporting tools, the campaign impact is not only measured for each individual channel and conclusions are drawn for optimization, but also across channels from the perspective of the customer journey, taking cross-channel effects into account, the agency said in a statement on Thursday. In addition, the leads generated are assigned directly to the corresponding sales territories in order to provide targeted support to the individual regions during the campaign.
 

In addition, they are only permitted during simultaneous TV broadcasts. The National Council adopted Evi Allemann's motion on Tuesday by 106 votes to 62 with 5 abstentions. Allemann justified her motion by stating, among other things, that it takes account of a "new media reality". SRG should be able to expand its activities to new media without obstacles being placed in its way. Natalie Rickli (SVP, ZH) opposed the proposal, which in her view "goes too far". It makes the internet a separate medium and puts it on an equal footing with television and radio. "This once again directly competes with the private media," said Rickli. The Federal Council supported the motion. According to Media Minister Doris Leuthard, however, first broadcasts on the Internet should be limited to political and economic events. As there are commercial interests in sport and entertainment, the Federal Council rejects their transmission.

If your company runs out of funds, your only option is bankruptcy. This is possible in two ways: either you wait until a creditor forces your company into bankruptcy, or you report to the bankruptcy judge to put an end to the horror yourself. If you are the owner of an AG or GmbH, you are even obliged by law to report the over-indebtedness of your company to the bankruptcy judge and to deposit the balance sheet. If you do not do this, you risk being held responsible later for the damage caused. This obligation does not apply to owners of a sole proprietorship or general partnership. They can only file a declaration of insolvency. If you run an AG or GmbH, you have two options: the over-indebtedness notice or the insolvency declaration. You must submit the notice of over-indebtedness to the court at the registered office of your company together with the following documents:

- Majority resolution of the entire board of directors - in the case of a limited liability company, of the management - on the notification of overindebtedness
- Interim balance sheet at going concern and liquidation values
- Report of a licensed auditor.

Instead of reporting overindebtedness, you can submit a declaration of insolvency for your company to the bankruptcy judge. To do this, you must submit a resolution of dissolution of the general meeting of shareholders - in the case of a GmbH, the resolution of the shareholders' meeting - notarized by a notary public. Unlike a declaration of over-indebtedness, you must pay an advance on costs for the opening of bankruptcy proceedings, which can be up to 6,000 francs depending on the court.

For a sole proprietorship or general partnership, there is only the declaration of insolvency. Individual entrepreneurs must file this at their place of residence - in the case of a general partnership at the company's registered office - and also pay the required advance on costs. After examining all the documents, the judge will open bankruptcy proceedings against your company. This is its economic end: the company is dissolved and loses the right to determine its assets. For you - whether you are the owner of a sole proprietorship or the board of directors of an AG or the managing director of a GmbH - the opening of bankruptcy proceedings entails various obligations:

- You may no longer dispose of the company's assets, otherwise you may be punished
be
-Immediately after the opening of bankruptcy proceedings, the bankruptcy office shall take an inventory of the assets
of the company. You are obligated under penalty of law to deliver to the bankruptcy office all assets
to indicate. Once the inventory is created, you must sign it and confirm its completeness.
- For each claim filed, you must
declare whether you recognize them.
- During the whole procedure you have to be at the disposal of the bankruptcy office. If you abscond, you may be penalized.

At the same time, the circulation of the Luzerner Rundschau increased by a good 6,000 copies to 63,470 copies. The Rontaler Woche thus reaches over 44,000 more contacts than the discontinued Rontaler (19,461 copies). From the previous editorial team of the Rontaler, its co-founder Walter Tschümperlin joins the Rontaler Woche as a freelance journalist. One person from the sales team has also been hired, which means that at least two of the former jobs have been secured.

The Luzerner Rundschau team, headed by Martin Plazzer, is responsible for the overall concept, editorial content, advertising sales and production management.
 

Everyone knows the practical Post-it® Notes. These practical helpers in the office, at home or on the go ensure that nothing is forgotten or overlooked. But the colorful sticky notes can do even more: they can be used to play the Pick & Play game developed especially for the campaign - online, offline and on iPads, iPhones and Android devices.

With the game and 35 events in Switzerland and Austria, the Zurich-based agency Noise brings the Post-it® product range to life in a playful way. The retail partners are actively involved so that the product can become the top-of-mind leader of the target groups in both Alpine countries. At the moderated events in high-traffic shopping centers, two candidates play against each other and take it in turns to choose one of the numbered Postit® Notes from the cube specially produced for the campaign. The first person to buzz and guess the picture wins an instant prize. The events are also framed by a message wall and a voting competition for the artists involved in the campaign. pan