Sascha Müller at Optimedia and Lilian Borer at B,G, Media. are newly appointed as agency managers. Existing remains Gérald Le Meur as branch manager in Nyon responsible for Western Switzerland and Hanna Kaminski for the branch in Zug.
Brigitte Gubser was responsible for key accounts as a consulting group leader for 4 years at B,G, Media. She holds a doctorate in business administration from the University of Zurich and has held various management positions in the communications and marketing industry for 25 years. Sascha Müller worked for 10 years at B,G, Media, the last years as consulting group leader and now returns to his old place of work from the client side. Liliane Borer has been working for 17 years in management positions in the field of media & media, 5 years in marketing as a trained marketing manager.
With Gubser, Müller and Borer filling the three key positions, Le Meur and Kaminski confirmed, CFO Werner Baumgartner promoted to Vice Director and Deputy CEO, Bemberg and Gedenk have arranged their own succession. Both will move to new business areas. Bemberg will join Daniela Bemberg in leading Harley-Davidson Zurich, fulfilling a long-held dream, according to a statement from the agencies. Gedenk has chosen the HWZ Hochschule für Wirtschaft Zürich. Starting in October 2010, he will study "Human Systems Leadership" there - parallel to his new job. Both are founding their own companies independently - Bemberg the company Bike and Gedenk the company Consulting, which will start on September 1st and will be active in the following areas: Consulting, Project Management, Coaching, Sparring Partner in various areas, Talent Management, Knowledge Transfer, Analysis, Research, Workshops, Business Intelligence/Solutions/Insights and Customized.

Many media sites show the most-read articles on their websites. On Wednesday, April 7 at 9.30 a.m., we took a close look at the top five articles on the websites of Blick, 20 Minuten, Tagesanzeiger and NZZ.
These are the top 20 stories in alphabetical order:
Alena Gerber: Involuntarily in the US Playboy
Shifted into first gear on the highway
Escapee: The alleged Swiss ... who isn't one at all
Switzerland's demographic future
Lionel Messi's fantastic show
UBS as Lehman "beautician"
Gaga verdict: Stocker acquitted
Good, better, Messi
Today I'm a star! Tamara (18) from Rümlang ZH
Praise and skepticism for new US nuclear strategy
Nicolas Blancho should not be underestimated
Odenwaldschule: Pupil raped with a banana
Munich thugs beat each other up in notorious places
Sexy celebrity art: Liv's nude kick for art
Expensive omission: 300 new drivers have to start from scratch
Daughter accuses: My father raped me!
Death of a racist: "I'll kill you"
Dream job bitch: sexy despite illness!
Spurned love: the deep fall of a financial expert
Two farm workers charged in South Africa
Surprisingly, there are only two topics in the top five on more than one page. One was FC Barcelona's Champions League quarter-final second leg against Arsenal, which took place the evening before, and the other was the murder of South African extremist leader Eugène Terre Blanche. All the other top five topics are different.
Let's see how easy it is to assign the headlines to the individual media. With the headlines "Switzerland's demographic future", "Two farm workers charged in South Africa" and "Praise and skepticism for new US nuclear strategy", things still seem simple: They could be on Nzz.ch
It's more difficult with the other titles. Does the headline "Odenwaldschule: Schüler mit Banane vergewaltigt" belong to Blick.ch or 20Min.ch? Is "Good, better, Messi" on Tagesanzeiger.ch or even on Blick.ch? Is "Alena Gerber: Involuntarily in the US Playboy" a typical Blick.ch title or rather one for 20Min.ch? Is "Expensive omission: 300 new drivers have to start from scratch" on Nzz.ch or Tagesanzeiger.ch?
With headlines like "Daughter accuses: My father raped me!", "Escapee: The alleged Swiss ... who isn't one at all" and "Spurned love: The deep fall of a financial expert", it already seems easier. But where did they really appear?
Distinguishing the individual media pages by their headlines is not as easy as one might think at first glance. The general tabloidization of topics and the accompanying exaggeration of titles leads to a uniform mishmash that is difficult to classify. It is unlikely that media consumers will be willing to pay for such stories in the future. Other topics and other headlines will be needed.
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Those who conduct surveys are sometimes surprised by answers that aren’t really all that surprising. This is due to expectations. In our survey, it was surprising that most managers first had to figure out what was actually going on with social media at their companies. Our questions were often forwarded directly to the people in charge of online operations. This shows that the integration between the virtual and real worlds is still far from working as well as it could. It’s a finding that’s both well-known and surprising.
Another trend that emerged in our survey is the widespread use of «trial and error»: People have jumped on the social media bandwagon and are now just seeing where it takes them. Studies show that in Switzerland, about 90 percent of full-time communications professionals use Facebook, Twitter, Flickr, or YouTube in their personal lives. Typically, they gained their first experience with social networks through a personal account before setting up an account for their employer as «social media experts» for companies, newspapers, or agencies. But this “learning by doing” approach clearly works very well: Respondents take social media seriously and use it very professionally for marketing campaigns and the distribution of editorial content.
It also became clear that currently neither companies nor media outlets nor agencies expect to make money from their involvement in social networks. If anything, they expect a positive effect for the brand. For brand-oriented companies, therefore, social media still holds untapped opportunities. Another interesting trend emerged: While companies and media outlets are actively engaged on Twitter, Facebook, YouTube, Netlog, and similar platforms, most of the advertising agencies surveyed are reluctant to create their own accounts—even though they all handle social media marketing for their clients. Markus Ruf, Creative Director and co-owner of Ruf Lanz, offers an explanation: «The agency itself deliberately does not have any accounts. Take Xing, for example: it’s mainly people looking for work. But we’re already getting far too many inquiries from production companies, printers, or freelancers who want to work for us. This would multiply even further if we had an account—to the dissatisfaction of everyone involved.» If the only «risk» of a social media presence is receiving too many inquiries, it might become important for up-and-coming agencies to set up a Xing, Twitter, or Facebook account. Jung von Matt/Limmat, for example, plans to open a Twitter or Facebook account in the near future, and Erdmannpeisker is evaluating whether a Facebook account might be worthwhile for the agency. Gabriel Peisker is weighing the pros and cons carefully: «It’s quite possible that we’ll set up an account. However, we’ll first conduct a cost-benefit analysis, because maintaining these platforms is time-consuming. We’d rather not have a presence at all than have a poor one that offers no added value.»
In fact, just being there isn’t everything. That said, it’s not a good idea to wait too long to get started on social media. But if you just tweet a little here and there or set up a Facebook account without a strategy, clear goals, or the manpower to manage it—and without regularly engaging with your friends—you’re not doing yourself or what you stand for any favors. The biggest mistake people make with social media is underestimating the effort it takes to maintain accounts and to be—and remain—authentic and creative.
How: Type of Activities
Companies primarily use Twitter, YouTube, and Facebook to post marketing and topical content, highlight promotions, or take orders. Marionnaud, Philips, and Swiss also have their own social media platforms: Marionnaud and Philips run blogs, while Swiss operates a social media newsroom. However, the companies surveyed use Facebook and Twitter not only to post announcements and offers, but also to interact with their friends and followers. «For Swiss, Facebook is the »hub,«» says Swiss spokesperson Sonja Ptassek. «All of our multimedia content is linked or uploaded to Facebook; we provide our fans with news, insights from the company, services, contests, and last-minute offers. We also actively communicate with our fans there, take in criticism, input, and ideas, and answer questions.» Swiss Post also values its customers’ opinions and gathers them through Facebook, among other channels: Swiss Post’s Facebook group serves “to gather customer feedback,” says Swiss Post spokesperson Mariano Masserini.
Another key driver for engagement on social media is brand management and brand protection: Sevenone Media believes that «distributing our news in a modern, straightforward, and trendy way will enhance the image of our brands among feed readers.» Marionnaud online specialist Yago Veith is also concerned with protecting his brand: «We’re also active on social media to ensure that the Marionnaud brand isn’t misused by others.» Misuse? Indeed, this risk is high: «The existing Tages-Anzeiger Twitter pages are not ours,» confirms Tagi Editor-in-Chief Markus Eisenhut. «For us, Facebook is the top priority. We use Twitter selectively when it comes to reporting directly and quickly on an event from the scene, such as the WEF in Davos.»
The media primarily use social networks to share news tweets and distribute editorial content. Their goal is to retain readers, attract new ones, and increase their reach. On Twitter, they link both to articles that have just been posted on the newspaper’s or broadcaster’s website and to video podcasts available on YouTube. In addition, NZZ campus makes all of its magazines available as e-papers on Issuu.com. SF runs fan pages on Facebook for individual programs and offers live chats during live broadcasts on the Internet.
None of the advertising agencies surveyed maintains an agency account on social media. However, it would be a fallacy to conclude from this that they lack social media expertise. After all, these advertisers are very active and creative on social media on behalf of their clients. Jung von Matt/Limmat carries out «all kinds of marketing activities» on social media for its clients; Erdmannpeisker is active on Facebook and Twitter for Rivella and Mammut; and Rod has developed a promotion for Saturn Germany that runs exclusively on Facebook. «This campaign leverages an insight into the medium,» explains co-owner David Schärer. «The app lets users play a game by setting their relationship status to »single.« So anyone who »cheats’ on their partner with Saturn gets rewarded.” Thanks to Facebook, the “Slow down. Take it easy.” campaign managed by Rod has also caused a sensation. The angel Franky Slow-Down has around 100,000 fans on Facebook—twice as many as Switzerland’s biggest pop stars.
Time-consuming: Account maintenance
For companies and media organizations, updating social media accounts is usually an additional task: corporate spokespeople tweet and post on Facebook between press releases and press conferences; online managers do so alongside their development work; and TV and print editors do so between news stories and features. Swiss is a notable exception: The airline employs a full-time staff member dedicated to managing its social media accounts. At Swiss Post, plans are underway to establish a dedicated “Social Media” team. None of the agencies surveyed maintain their own agency accounts. When they post on Twitter, Facebook, and YouTube, they do so on behalf of clients—which means that managing social media is a genuine part of advertisers’ work.
Why: Significance for the balance sheet
For Swiss and Philips, engagement on social media is clearly part of their future strategy. David Schärer of Rod sings the praises of social media: «For the agency’s own branding, social media is still secondary—or even tertiary. But from our clients» perspective, it offers an opportunity for genuine dialogue on equal footing. Only those who are relevant can establish meaningful contact with their audience. From an advertiser’s perspective, the challenge lies in utilizing new formats. I see this development as a major creative liberation.”
Outlook: What the Future Holds
For many respondents, the outlook for the future remains vague. They often vaguely mention that they are planning «a few things» by the end of the year. Whether that means «we’re not providing any information on that» or «we don’t have any plans» is left open to interpretation. Swatch does not disclose any information about its future plans «for strategic reasons.».
However, specific plans are also being announced: Swiss is launching activities on the frequent flyer forum Flyertalk.com; Rohner Socks will update its posts regularly and feature promotions in its online store as well as live streams; Marionnaud is compiling behind-the-scenes information for its fans; SF plans to make its video-on-demand offerings available on the major social media platforms; the Tagi will expand its existing Facebook presence and increase interactivity on its mom blog; NZZexecutive.ch plans to expand its job boards on social media, and NZZ campus plans to further refine its «use of these channels» and focus on social media sites with wide reach.
According to David Schärer, Rod is also busy planning new projects: «A major campaign is in the works and will be unveiled in May. But the biggest thing for us this year is likely to be mobile internet.» Ruf Lanz is currently working on new campaigns for VBZ, Suva, and Hiltl, in which social media also plays a role due to the target audience. Markus Ruf: «But here, too, the key is a surprising idea: The benchmark is the Facebook campaign by Crispin Porter + Bogusky for Burger King, where you could trade ten Facebook friends for a Whopper.»
It seems we can also expect surprises from Swiss Post: «Swiss Post has recognized the importance of these new channels for the exchange of information and opinions and is currently developing its social media strategy,» reveals spokesperson Masserini. «By the end of the year, these interactive media will be integrated in various ways into our communication, marketing, and sales activities.»
Anne-Friederike Wilhelm

Jan Maurer will assume the role of Head of Marketing for Switzerland at IKEA in mid-May 2010, overseeing the areas of advertising, the Internet, relationship marketing, market intelligence, and public relations. As a member of the executive board, he will also share responsibility for strategic planning and the positioning of the IKEA brand in Switzerland.
The agency states in a press release that Unikat’s core mission will remain unchanged even under the new ownership structure. Unikat will continue to be an owner-managed agency that stands for «intelligent, effective, and surprising communication.».

It is well known just how much grotesque humiliation people are willing to put up with on television. We know all too well just how despicable people can be when it comes to excluding members of a group on reality TV. Does that mean television is also a new form of fascism, to whose ideology and rules everyone submits? That’s what Christophe Nick claims.
He was looking for candidates for «a new game that had yet to be tested.» Whenever their partners gave the wrong answer, they had to pull the lever to deliver an electric shock. What they didn’t know was that the test subject had been replaced by an actor. The cries of pain were faked. Eighty percent complied with every request—even when the dose became lethal. Twenty percent refused to continue the inhumane game once the current reached a certain level.
The Willingness to Obey
But it wasn’t a game; they were filming a documentary. The experiment was modeled after the famous «Milgram Experiment,» which sought to explore people’s willingness to obey—ultimately, to address the question of how it was possible during the war for Germans to participate in Nazi crimes. Stanley Milgram explicitly referred to Hannah Arendt’s book *The Banality of Evil*; during his trial, Eichmann had justified his actions by claiming that he had merely followed orders.
Television is breaking down boundaries of modesty
In mid-March, the French network France 2 made the documentary the centerpiece of a memorable evening, and Christophe Nick also turned his insights into a book. Television, he claims, is systematically breaking down boundaries of shame and taboos. It is even ready for the ultimate transgression: a public execution by the mob—orchestrated by television. He claims to have actually provided proof of this with his «Jeu de la mort.».
It was a game played with the wrong cards and under the wrong conditions. And it had an unexpected loser: France 2 managed to secure only a 12 percent market share. This left it far behind its commercial rival TF1, which aired a staid cultural program, and the other public broadcasters.
Viewers are indifferent to the everyday fascism on TV; they have no interest in television’s criticism of television. Furthermore, Christophe Nick must now face charges in court: two former ministers have filed a lawsuit accusing him of incitement to violence. In French-speaking Switzerland as well—where TSR covered the experiment—complaints have been filed with the ombudsman.
The irrationality of reality TV is a fact
The participants were not ashamed: With one exception, they were all willing to have their appearances shown on television. One participant, who had administered electric shocks without any hesitation, said he had been well aware that there was no torture on television. Psychologists and philosophers interpreted this statement as evidence of television’s power to manipulate, noting that television had become the ultimate authority—whereas in the «Milgram Experiment,» it was still science. Yet the irrationality of reality TV and its games is a fact that one must give the willing perpetrators—as victims of this experiment—some credit for. Even if the true heroes of this evening are very much those who dropped out during the course of the game.
Some people took part in the lengthy discussion that followed. A great deal of intelligent—and sometimes contradictory—commentary was offered. It is very healthy for television to engage in self-critical reflection. The fact that this also involved public television leveling accusations against private television was somewhat hypocritical. The program itself—even if under the guise of an accusatory and educational documentary—has, after all, very much embraced the very mechanisms and fascination it denounces. The trailer certainly gave the impression that it was a real, existing show. Television criticism is more fruitful when it doesn’t invent all sorts of possible perversions, but sticks to reality. That’s bad enough as it is.

Live acts such as Goldfrapp, Seven, and Lunik will perform on stage at Energy’s Fashion Night. On the catwalk, national and international models will showcase fashion from Manor, PKZ & Feldpausch, and Patrizia Pepe. The 4,000 tickets will be raffled off at Energy Zurich, Energy Bern, SI Style, and their partners.
Along with Energy Stars for Free, the Energy Live Session, and the Energy Movie Nights, the Energy Fashion Night is one of Energy's event activities in Switzerland within the newly established Ringier Entertainment division.
The Energy Group’s newest addition, Energy Bern on 101.7 MHz, went on the air this morning. The station kicked off at 5 a.m. Simon Moser woke up the people of Bern with the morning show «Energy Mein Morgen.» The guest was Bern’s mayor, Alexander Tschäppät, who officially launched the station. In keeping with the slogan «Energy is now bringing the stars to Bern,» stars like Robbie Williams, Pink, Lady Gaga, Shakira, 50 Cent, and Beyoncé were featured throughout the city in the form of hundreds of foil cutouts during the station’s launch.

The Swiss as we know and love them," was the jury's opinion when the "Berghütte" commercial was discussed. In the SFLB film, the mountain people lovingly clean up their alp before the first tourists arrive at the start of the season. The idea for Switzerland Tourism was rewarded with a silver clapperboard. Michi Fueter's production for Condor fell just short of gold in the final round. For jury member Martin Spillmann, the win brought back nostalgic memories. One of his first creative prizes was a clapperboard around 25 years ago, back then in a team with today's star director Xavier Koller. Grayling - until recently still known as Trimedia - won another silver clapperboard with three short commercials for Microsoft (Switzerland) and Windows 7. The witty clips, which show what efficient "working" means in just one shot, were produced in-house at Grayling.
Classic instead of experimental
A total of 327 works were submitted, 35 of which were awarded with a clapperboard. Apart from the award-winning films, there were almost no other films from Switzerland. The big winner of the competition for moving images - as it is called exactly - was an "anthem" for the Hornbach DIY store. The creatively illustrated poem won three out of four golden film flaps and a silver one for the book. The film by Nico Beyer and the Heimat advertising agency encourages people to follow through with projects they dream about. For example, remodeling your apartment. The jury, headed by Michael Trautmann from Kempertrautmann, was impressed by how Hornbach, as a DIY store for the masses, has managed to set artistic standards in advertising films for years. The visual language is classic. But the ideas and their narrative style are always new and daring.
There was also another gold flap for a self-promotion by the Lukas Lindemann Rosinski agency. The film, rich in ideas across all eras, was produced to mark the award for Newcomer Agency of the Year. The new agency LLR was founded by three former managing directors of the Jung von Matt Group. Silver was awarded for another self-promotion. Kolle Rebbe had 15-year-old and therefore rather pubescent teenagers read out the congratulatory cards that had arrived for the 15th anniversary of their agency, which led to witty comments and slips of the tongue.
During the two-day discussions of the international jury, it was felt that many productions lacked the courage to try something new. The somewhat tighter budgets in many places probably leave little room for experimentation. In the end, however, the audience at the award show was still impressed by "a great deal of quality craftsmanship". The jury was somewhat astonished by the fact that 80 percent of the entries in the "Social Media" category were entirely conventional films with charitable content. Some advertising agencies still have to learn that Facebook and the like are no longer the newest media for moving images. During their discussion, the jury was able to check how successfully virally distributed films actually work on YouTube. There it also became clear that TV commercials that are simply posted on the internet hardly achieve their click rates compared to media-appropriate ideas. Andreas Panzeri

Guerrilla marketing comes from guerrilla warfare - and it has to be just as uncompromising," says Dominic Deville. The founder and CD of the Lucerne-based experience agency Clockworx spoke to the IAA Young Chapter about the possibilities and limits of guerrilla marketing. Marketing with a surprise effect offers many opportunities: companies can leave their well-trodden paths and show consumers new sides to their brand. They can throw strict guidelines such as CI/CD overboard and get closer to their customers than ever before. And they can immediately capture the consumer's reaction to their campaign. If the client has the courage to be really radical, a guerrilla campaign can even develop into a viral campaign. Because almost everyone has a cell phone camera these days - and pictures of a successful street promotion are often posted on YouTube. In the best case scenario.
If things go badly, the campaign fizzles out. Or there's real trouble. Because if, for example, a group of naked people walk through Zurich's Bahnhofstrasse at the best shopping time on a Saturday, it is at least a case of "gross mischief" and "causing a public nuisance" - so the naked people should be able to walk quickly. However, Dominic Deville finds it much worse than a possible fine if a guerrilla action is carried out half-heartedly and no one remembers it later: "It's a shame when guerrilla degenerates into a quick marketing stunt. Anyone who believes that guerrilla marketing costs
is cheap, simple and quick to prepare is wrong. On the contrary: if guerrilla marketing is to work, you have to plan it very well and invest money and manpower. Anything else is useless." Of course, a guerrilla campaign is not as expensive as a large, traditional campaign. But it should also not be misunderstood as a quick money-saving version of classic advertising measures. Being uncompromising is sometimes exhausting.
Freshly ventured ...
It is very important that companies do not lose heart halfway through the guerrilla campaign. Deville talks about the free Internet campaign that Clockworx planned and implemented for Sunrise in spring 2008. The concept was to have a group of activists protest in various situations for free Internet access. The fact that Sunrise was the client for the promo was initially left unclear. Clockworx put up free Internet posters, for example with the likeness of revolutionary Che Guevara or a dove of peace that had flown away from the 1980s. There were also various protest actions: For example, 25 ran except for Che Guevara masks
naked activists ran through Bahnhofstrasse chanting "Free Internet". The streakers met in an apartment near Bahnhofstrasse to prepare for the action when a panicked Sunrise employee tried to stop the run at the last second. "After some discussion, we were allowed to start running after all," recalls Deville, who himself ran through Bahnhofstrasse "bloodied". "The campaign was a complete success. We filmed it ourselves and put it on YouTube, and later other videos from passers-by appeared."
The key to the success of a guerrilla campaign is to resolve it at the right time. "You should maximize the suspense and not break up the action too early," advises Deville. "But you shouldn't wait too long either, because then there's a big risk that journalists or bloggers will find out who's behind it in the meantime and spread the word." In addition, the resolution should offer the target group added value in some way, for example by promoting a particularly attractive, inexpensive or exclusive offer. This worked well with Sunrise's free Internet guerrilla, for example: 16 percent of all Swiss people visited the website linked to the campaign (whose URL now leads directly to the corresponding Sunrise offer), and Sunrise recorded customer growth of 20 percent.
... is half the battle
If there is one rule for guerrilla advertising, it is to stay cool: "If you do guerrilla advertising, you can't be afraid of negative reactions," emphasizes Deville. "There are always a few people who are against it - the key is to entertain the majority of people on the street in a humorous way and stay in their minds in a positive way." The fear of fines or sanctions is often exaggerated. Clockworx and its customers have never had to deal with the police, despite their often provocative actions. "Of course, we don't ask the police for permission beforehand," says Deville with a wink. "But a guerrilla marketing agency should be able to assess possible risks. Just in case, we agree with all our clients who is liable for what."
There is no guarantee that a guerrilla campaign will work. But if you follow a few tricks, you are more likely to succeed (see also the box "The 10 commandments"): A guerrilla campaign in which passers-by are asked to take part is always a risk. The campaign has to be really good and inspire people straight away so that they don't just keep walking. "If you appeal to people's play instinct, you'll usually be successful," advises Deville. A good example of a playful guerrilla campaign is VW's Piano Stairs (www.youtube.com, "Piano Stairs"). Here, the stairs of a Stockholm subway station were transformed into piano keys. It didn't take long for passers-by to "make music" with the stairs. This supported the car company's fun theory - all recorded on videos that went viral on YouTube.
Surprising is better
Companies planning a guerrilla campaign are also well advised not to take themselves too seriously. Campaigns that demonstrate a sense of humor in dealing with their own cause are remembered as particularly likeable. "A client once told me explicitly: 'No joking around with the product'," recalls Deville. "We had a lot of funny ideas that would certainly have gone down well. Imagine, for example, how many fun activities you could do to show how well an adhesive cream sticks." If you make consumers laugh, you win their affection and stay in their memory. That's why companies shouldn't be afraid to poke fun at themselves. Even established brands are not harmed by a good pinch of humor, but at best regain their freshness.
Another clever move is to involve one or more media outlets in the guerrilla action. "We often team up with a newspaper so that we can steer the coverage a little," says Deville. "We offer this medium the opportunity to be the first to be informed exclusively when there is another campaign or a tip-off about the client - which we naturally try to keep secret for as long as possible." Especially for companies that fear that a guerrilla campaign could damage their brand, it is advisable to involve the media. To be on the safe side.
How long a guerrilla action lasts and how many sub-actions it consists of depends on its content and the desired goals. It is crucial that the tension between the first action and the resolution is maintained. On average, guerrilla campaigns run for two to three weeks. Then it is revealed who is behind it and what the aim of the campaign is. And if everything goes well, the surprise is big.
Anne-Friederike Wilhelm

The ten commandments of guerrilla marketing according to Dominic Deville
You should detach yourself from the identity:
Throw the CI/CD and other boundaries overboard for once.
You should be able to laugh at yourself.
Put all your eggs in one basket.
Subjugate the media.
You shouldn't please everyone.
As an agency you should take the reins, as a company you should hand over the reins.
You shall honor your father and mother -
If they don't understand your idea for an action, discard the idea.
Celebrate April 1: The resolution of the campaign must be worthwhile for the target group.
Work in secret.
Ignore all the rules. Good campaigns don't need rules.
In a nutshell
The Lucerne-based experience agency Clockworx was founded four years ago by Dominic Deville. Clockworx designs and implements events and advertising strategies that are far removed from the familiar. The agency is responsible, for example, for the campaigns shown above, for the Sunrise guerrilla "Free Internet" and for cross golf on Zurich's Bahnhofplatz. Clockworx's clients include Swiss Post, Kraft Foods, Parisienne, Swatch, Swisscom, UBS and Zimtstern. The agency employs five people.www.clockworx.ch
Dominic Deville (35) lives and works in Lucerne and Hamburg, is an advertising guerrilla, writer, theater maker, kindergarten teacher, drummer, entertainer - and from August he will also be a father.

Tina Wintle-Empl worked as a radio journalist in Zurich for 13 years. Now she wants to try something new. She will start as an editor at the Glarner Nachrichten on August 1.

Now that Dar-Vida offers an alternative to candy in the dessert category as well, hard times have arrived for gummy bears, chocolate bunnies, and the like—that’s the tagline of the new campaign. The visuals accordingly depict various candies mourning the arrival of Dar-Vida cookies.
The posters can now be seen throughout Switzerland.
Contact at Hug/Dar-Vida: Andreas Hug (Executive Management), Bruno Winiger (Head of Marketing & Sales), Mike de Bever (Head of Consumer Marketing), Karin Strik (Head of Product Management, Dar-Vida). Responsible at Jung von Matt/Limmat: Michael Rottmann (Creative Director), Alexander Holtz (Copywriter), David Hanselmann (Art Director), André Hermetschwiler, Matthias Fürst (Graphic Designer), Thomas Hinderling, Dominic Daeppen, Ariane Sonderegger (Consultants), Ilonka Galliard, Erasmo Palomba (Art Buying), Staudinger+Franke (Photographer, Image Editing), 3D Design (Model Maker).

The result is a hand-produced stop-motion film that dramatizes the statement "365 days open". The main character is a man who drives through different sceneries in an open convertible all year round. Whether it's Easter Sunday, August 1, late at night in a storm and even in snow - the convertible roof is always open and the driver catches a cold. But no problem, the Odeon pharmacy is also always open.
The TV spot will be used for the Odeon pharmacy in Zurich as well as for the station pharmacies in Basel, Bern and Winterthur. The film is now running on local stations and in selected cinemas.
Responsible at Apotheken Drogerien Dr. BählerFranklin Schatzmann (Member of the Executive Board), Johnny Schuler (Project Manager). Responsible at Y&R: Markus Gut (CCO), Julia Brandstätter (text), Stéphanie Bertschi (consulting), production: Walking Frames/Julian Amacker and Monica Santana.
To the spot

A charming magazine
According to the announcement, a new customer magazine from the Sympany Insurance Group aims to «put readers at the center.» A commendable idea, since hardly anyone else is likely to read the magazine. After winning a pitch, Crafft Kommunikation developed the concept for the new «live» in collaboration with Sympany and completely redesigned the magazine. It provides space «for stories about and for customers.» Each issue features a main theme; in the first issue, it’s the trending sport of bouldering. The magazine is published four times a year in two languages with a circulation of 140,000 copies.

After work, my family is waiting for me
The website www.familienleben.ch aims to make family life easier. Here, users can register and find daycare centers and nurseries, share hiking suggestions, get health tips, or discuss parenting challenges with bloggers. Carpe Media is promoting the portal through a campaign by Gothuey & Partner using flyers and postcards.