The Board of the Art Directors Club Switzerland has redistributed the tasksThe Art Directors Club Switzerland (ADC) has redistributed the work of the Board following the elections. Markus Gut will take over the finances, Peter Brönnimann the press work and Daniel Matter the next ADC Switzerland jury. The CD of Matter und Partner, Zurich, was previously in charge of press relations. The changeover has come about because Matter, as managing director of his own agency, has to be "a little more economical" with his time and Brönnimann, on the other hand, is "very keen" to expand his press work. As far as judging is concerned, Matter does not want to introduce any radical changes in his first year. Prokesch should continue to moderate the judging process because, according to Matter, he does so "credibly and diplomatically".
As a creative, Matter has been on the judging panel around 14 times so far and has won prizes with great regularity.
The other Board members will retain their areas of responsibility: Andreas Prokesch is Chairman of the Board, Alberto Venzago remains responsible for Special Events, Simone Fennel for Events, André Benker for Members and Hans Tanner for the Creative School. Andreas Panzeri

Bob Isherwood is President of both the Film and Press & Poster juries in CannesBy Andreas PanzeriIn addition to Carla Hendra, President of OgilvyOne North America, who heads the Cyber Lions jury in Cannes, and Chris Ingram, Chairman of Tempus Group PLC, London, who is responsible for the Media Lions, the very important man in Cannes is Bob Isherwood. The President of both the Film and Press & Poster juries is the worldwide Creative Director of Saatchi & Saatchi.
"In the attention economy, ideas are the currency" is a motto by Bob Isherwood. According to Saatchi & Saatchi's top CD, we are operating in an "attention economy" because we live in an age of "over-information". In concrete terms, one issue of the New York Times today contains more information than a person in 17th century England absorbed in their entire life. And this amount of printed information will double every two years. "An advertiser can only fight his way through this jungle of information with unusual ideas," Bob Isherwood is convinced. This is why he recently placed the title "" above one of his lectures, which was followed closely around the world.
Bob Isherwood has been working in advertising for 35 years. Born in Australia, his career began at Young & Rubicam in London, where he worked for six years as Group Head of a creative team. He shaped the work of Collett Dickenson Pearce & Partners for ten years. At the time, this was regarded as the "most creative agency in the world". Bob Isherwood returned to Australia in 1982, where he co-founded Campaign Palace in Sydney. He finally joined Saatchi & Saatchi in 1986. He became Chairman of the Worldwide Creative Board at this agency giant in 1995 and one year later became Worldwide CD and a member of the Executive Board. Bob Isherwood's main place of residence is now New York.
His awards include the first Gold Lion for an Australian cinema commercial in Cannes. Isherwood is also one of the few to have won a British Design and Art Direction Gold Award for Advertising. He was also elected to the Clio Hall of Fame in the USA and named Australia's leading creative director.
Isherwood will carry out the work of judging in Cannes together with 22 jurors for each of his two categories. Among them, Martin Spillmann is the only Swiss juror on the film jury.
6117 Commercials without interstitial advertising
The film show at the Palais des Festivals is considered "the world's biggest and best commercial break" with 6117 commercials from 82 countries. In the first round, a shortlist of 550 commercials is drawn up with the help of a points system. After extensive discussions among the jury members, the gold, silver and bronze lions are selected and the Grand Prix is awarded at the end. According to Isherwood, it is irrelevant whether the commercial comes from a large or a small client. It simply has to be "the big idea" that wins.
At Press & Poster, 10782 entries from 69 countries will initially compete for an estimated 750 places on the shortlist, before the best of the best head off to the lions' enclosure, where they will be awarded gold, silver or bronze medals.

Ernst Wirz, director Wirz + Fraefel ProductionsWhich international commercial will win? Ernst Wirz: The Fox TV series with the high jumper, the tree feller, the ear fiddlers, etc.
Swiss favorites?
Wirz: Quite spontaneously (you always forget a few): Hakle-"Scheibenwischer", the dog that pisses in the neighbor's shoes for Winner, the "Mafia" story ("deeper than you think") for Swisscom, the Computergame-Lovely milk cow and our spot "The Hooligan" for Alcoholics Anonymous.
How much success do you expect for Switzerland?
Wirz: Four to six shortlist nominations, one to three Lions.
Wirz: It would be very bitter without any lions at all!
What is the significance of Cannes?
Wirz: The advertising film world championship with everything that belongs to an international sporting event.
Best personal experience in Cannes?
Wirz: The first lion a good ten years ago.
This year's resolution?
Wirz: Less sport (see answer on importance), more alcohol.
In Cannes, you win above all when...
Wirz: ...you show a really extraordinary, never-before-seen, surprising advertising idea, someone realizes the whole thing adequately (or even better) and you have a customer (or rich father) who wants the whole thing to be a success.
paid.
The festival video

For the third time, RMB Switzerland is presenting the so-called Swiss Reel around the Cannes International Advertising Festival. The videotape with a summary of the Swiss Cannes submissions from the Film category costs CHF 80 and can be ordered at www.canneslions.ch or by calling RMB Switzerland on 01 448 48 48. In addition to the collection of spots, Publimedia also offers a CD-ROM in the Press & Poster category.
FORMER SWISS JURORS IN CANNES

2000 Frank Bodin
(Press & Poster)
1999 Fredy Collioud (Film)
1998 Rudolph Schürmann (Press & Poster)
1997 Edi Andrist (Film)
1996 Reinhold Weber
(Press & Poster)

How do advertisers tame lions? This question will be asked again next week in Cannes. There, 305 Swiss entries will be competing for bronze, silver and gold at the World Championship of Creative Athletes. Find out who is dreaming and expecting what on pages 12 to 18

Studio Achermann and Niklaus Troxler win prizes at the ADC of EuropeBy Beat FritschSwiss advertising seems to be on the rise internationally. After not winning gold at the Art Directors Club of Europe (ADCE) awards for the last two years, Swiss creatives made it onto the podium again this year.
The ADCE Awards are among the top prizes awarded at international competitions. It is not possible to register, as the works awarded silver or gold in the individual countries automatically take part in the European creative competition. And it was a good year for Switzerland. After 10 nominations from 52 entries in 1999 and 4 nominations from 50 entries in 2000, this year our country was also awarded yellow precious metal.
Out of 61 submissions, 8 made it onto the shortlist, 2 of which received top-class awards. Studio Achermann won gold for the Migros annual report and Niklaus Troxler for his posters for the Jazz in Willisau festival. Johannes Newrkla's statement showed that Swiss advertising is also well(willingly) perceived abroad. The juror from Austria, who holds the position of ADCE treasurer, missed the Kuoni spots, which he also thought had a chance of winning gold.
However, the jurors continue to be critical of the creative gap between the participating countries. According to Stefan Schmidt, CD at Springer & Jacoby International, even Germany is still light years behind the British. It could also take a long time for the former Eastern Bloc countries to reach an acceptable level of creativity. According to Schmidt, this is due to the fact that the transformation from a demand to a supply market is still an ongoing process in these countries.
More excellent design than funny advertising
The judging took place in a very relaxed atmosphere for the fourth time under the aegis of former D&AD Director David Kester at the London Design Council. There was absolutely no sign of any country chauvinism, but the event gave outsiders the impression that, in contrast to the national competitions, more attention was paid to design and visual implementation. This may be because advertising messages are very often characterized by country-specific humour or cannot be understood without more detailed knowledge of the context of the message. This impression is supported by the fact that gold was awarded twice each in the Graphic Design and Illustration & Photography categories, while there were no gold awards at all in other categories.
However, the Grand Prix went to a spot campaign for QTV/Emap on Air, which impressed the judges above all with its wit and wordplay. The site requiemforadream.com narrowly missed out on the final victory and is highly recommended.
Martin Spillmann kept his presidential promise
On the threshold of the new millennium, the ADCE was chaired by AY&R-CD Martin Spillmann, whose aim had been to attract further members to the club through bilateral talks. He seems to have succeeded in doing so: Despite one withdrawal - the Belgians made good on their threat announced in 1999 - the ADCE now has more members than ever. The creative clubs of Portugal and the Czech Republic were already new members in 2000, and this year the two Norwegian associations Grafill and Kreativtforum were welcomed to the competition. The ADCE now has 13 member organizations, and of the major European nations, only the French are still on the sidelines.
ADCE - BEST OF EUROPEAN

DESIGN & ADVERTISING AWARDS 2001
Swiss gold nominations and winners
Category Campaign Client Agency
Poster Vacation/Forgotten Kuoni Advico Young & Rubicam (nom.)
Networked mobility ZVV Publicis (nom.)
VBZ Literature VBZ Advico Young & Rubicam (nom.)
Advertisement Newspaper Nico Yearbook Tamedia McCann-Erickson (nom.)
Media/Promotion Coke flyer Snowboard Garage Publicis (nom.)
Illustration/ Future of Sex My Media Studio Achermann (nom.)
Photography
Graphic Design Jazz in Willisau Jazz in Willisau Niklaus Troxler (Gold)
Annual Report 1999 Migros Studio Achermann (Gold)

ADC New York and New York Festival Print awarded their prizes simultaneouslyBy Thérèse BalduzziAt the New York Festival for Print Advertising, Swiss agencies each won one gold, one silver and one bronze award. Another nine made it to the finals. The ADC New York awards ceremony took place at the same time, with graphic designer Niklaus Troxler receiving a silver cube and the Distinctive Merit honor in the Graphic Design category. A Distinctive Merit for Advertising went to McCann-Erickson, Zurich.
After the New York Festival had already awarded its prizes for TV and cinema spots in January, the prizes for print advertising followed: Guye & Partner, Zurich, received gold in the Outdoor/Transit/Posters category for the "Arena Coupon Poster" for the Arena fitness and dance studio in Zurich. Silver was awarded to Seiler DDB AG from Zurich in the Tourism category for "Unforgettable Days" for the Hotel Eden/Hotel Anita in Arosa. Bronze was awarded to the "Live: Tramway/Bus" campaign by the Publicis agency, Zurich, for the ZVV. The finalists were Jung von Matt/Limmat twice, McCann-Erickson, Geneva, twice, Matter & Partner, Cash Public Animation, Publicis, Zurich, Second Floor South Netthoevel & Gaberthuel from Biel, and Wirz Werbung from Zurich.
ADC New York likes Swiss advertising
At the ADC New York awards ceremony, Swiss graphic designer Niklaus Troxler received a Silver Cube in the Graphic Design category for his poster "Ellerly Eskelin - Han Bennink" for a jazz concert in Willisau (see also WW 22/01). He received the Distinctive Merit, which is equivalent to a bronze prize at other awards ceremonies, for the poster "Art Nyon reçoit Niklaus Troxler," a poster for the festival of the same name organized by the city of Nyon in honor of the longtime organizer of the jazz festival in Willisau.
McCann-Erickson, Zurich, received the Distinctive Merit in the Advertising category for the TV spot "Police Control" for Alcoholics Anonymous. Claude Catsky was responsible for the spot as art director and copywriter.
Atelier Poisson from Lausanne, where Giorgio Pesce is art director, designer, photographer and illustrator, received the Merit award (Graphic Design category) for the book "Arsenic Theatre Program, Season 2000/2001" for Theatre Arsenic.
Towards reduction, away
from lush graphics
The silver award was already the fourth that Troxler has received for his poster. A silver cube from ADC New York is an even greater honor, as the latter had abolished the separate category for international entries a few years ago. A total of 5 gold cubes and 19 silver cubes were awarded in the Graphic Design category. "I think it's important as a creative to measure yourself against the rest of the world every now and then," explained a visibly pleased Troxler. ADC New York, which gives graphic design an important place, is also the right address for this. Asked about the other winning entries, Troxler remarked, "The trend is moving more toward the reduced again, away from lush graphics. This is also true in Europe. In addition, individuality prevails, many different languages are represented."
Main winner ADC

ADC Grand Winners in the Advertising category were agencies Cliff Freeman, New York, with four Gold Cubes, and Hakuhodo, Tokyo, and TBWA/Chiat, Los Angeles, with one Gold Cube each. In Graphic Design, Digital Kitchen, Bellevue (Washington), JIC Corporation, Tokyo, Lorraine Wild Graphic Design, Los Angeles, Fumio Tachibana and UNA Designers, Amsterdam, each won one gold. A Gold Cube for Illustration went to the New York Times Co. In the New Media division, Digit, London, and Motion Theory, Venice (California) were honored with Gold. The list of winners can be found at www.adcny .org.
Grand Prize Winner New York Festival Print

The main winners were "The Jupiter Drawing Room" from Johannesburg for a magazine ad for Nike, Clemenger BBDO from Melbourne for a poster for the "Pacific Access Yellow Pages," Hakuhodo Inc. from Tokyo for a poster for the "Japan Glass Bottle Association," Philipp and Keuntje from Hamburg for a promotional design for Audi-Steppenwolf, and Fischer America from São Paulo for a service-public campaign for Banco do Olhos (Eye Bank) in São Paulo. Other big winners were the agency networks Saatchi & Saatchi with a total of six gold awards, BBDO and McCann-Erickson with four each, DDB and Ogilvy with three each, and J. Walter Thomson, Grey, FCB and TBWA Chiat/Day with two gold medals each.

Objective: Awareness campaign for the importance of Switzerland as a financial center. Support for the print campaign.Allianz Starke Schweiz Advertising material: Full banner.
Client: Allianz Starke Schweiz, represented by Kummer Public Affairs, Meilen; responsibility: Matthias Kummer. Agency: Büro für Öffentlichkeitsarbeit, Meilen; responsibility: Guido Weber; PR consultancy/agency: Publimedia AG/Publimedia Webadvertising AG.

Schweizer Illustrierte came to Wolf Dammann's beauty salon and retained its magazine structureBy Markus KnöpfliSince June 11, Schweizer Illustrierte (SI) has been published with a revised layout created by Hamburg designer Wolf Dammann. Above all, the editorial team was given more creative freedom.
A few new features immediately catch the eye: the "A-list" on the front, which briefly outlines the best stories, takes some getting used to. The front pages of some of the big people stories now feature a double-page picture. A variable column per double-page spread provides space for captions and other elements. The new font - called Knock-out - is easy to read in all sizes, while at the same time being more discreet, which makes the titles appear less tabloid-like. In short, the new SI appears more serious and generous. This pleases its editor-in-chief Marc Walder: "Our aim was to position SI at the top of the German competition in the title magazine genre."
At the same time, SI is also more playful than before: for example, some people stories start with a full-page picture instead of a double-page one, but with a title in black or even without a graphic element at all. "The editorial team can give each story its own identity almost like a building block system," says Walder. This also takes some getting used to, but because the magazine structure and layout have remained practically unchanged, SI readers should have no problem finding their way around.

Matthias Luchsinger, CEO RMB Switzerland, on the competition in CannesIn his role as Swiss representative, Matthias Luchsinger does not want to comment on the chances of the Swiss entries in Cannes. "I'm not a jury member and I don't want to rush to judgment," he says. He prefers to leave the assessment of the competition entries to the creatives. However, Luchsinger is "convinced that the Swiss submissions have a good chance." How many awards and nominations in the shortlist would you expect to be appropriate for Switzerland?
Matthias Luchsinger: We did not reach the number of submissions from the record year 2000. However, as the Swiss office of the Cannes Advertising Festival, we have already established several times that less can also be more. It's the quality of the entries that counts, not the number. Last year, the numerous submissions resulted in only one Media Lion. This year, however, I expect two to three Lions. For the shortlist awards, I'm guessing 10 to 15; after all, Swiss agencies are still in the running with a total of 305 entries in the four categories.
How bad would Switzerland have to be to be labeled an advertising province?
Luchsinger: I think it's like the half-empty or half-full glass of water: it's the perspective that counts. That's why I'll answer the question from the positive side: Switzerland is considered a major advertising power if it wins four or more prizes.
What does the competition in Cannes mean to you?
Luchsinger: Cannes is not just a competition, but the meeting place for the international advertising industry with countless discussions, contacts and information. The fact that
The best way to recover from these exertions is on the beach with a cool drink in your hand.
What is your best personal experience in Cannes so far?
Luchsinger: Eating in an oasis (which actually deserves the name) near Cannes, then sitting on a railing at five o'clock in the morning listening to the satellites with a cell phone in each ear.
What is your resolution for this year in Cannes?
Luchsinger: Exactly the same as every year: fewer meetings. Go to bed earlier. Strictly abstain from alcohol and never go to the beach topless!
Please finish the following sentence: "In Cannes, you win above all when ..."
Luchsinger: ... you take part in the "Swiss Lunch" of RMB Switzerland and lobby there for the last time! Interview: Andreas Panzeri

Robert C. Baier shifts activities to the strategic areaAfter the management buyout last January, the media agency Robert C. Baier is realigning itself. Media auditing and strategy consulting will take center stage in the future. Baier intends to source personnel and cost-intensive services from the media back office from other service centers.Baier has to start practically from scratch, without a client base and with a greatly reduced team (WW 6/01). In the best times - the mid-eighties - the agency employed eight people. Now he works with two employees.
"Media audits, media concepts, strategy models in coordination with creation, media buying, rate analyses and, from late summer, TV planning," is how Baier describes the focus of his future range of services. But first he needs to build up a new customer base. At the moment, Baier is putting out feelers in the financial communications sector. He has two or three inquiries on the table that could lead to customer relationships. He expects to have half a dozen customers by late summer.
Baier does not consider it a disadvantage that a small agency like his cannot hold a candle to the large agencies when it comes to evaluation and calculation programs and access to databases. Because the detailed planning process is enormously labor- and personnel-intensive, he wants to "keep this area lean and outsource it whenever possible. If the requirements profile demands it, we will buy this option from other agencies," is Baier's recipe. This is why he believes that the small team is able to offer a full media service, but that this is no longer the main focus.
Baier is convinced that the concentration of media services at large agencies will continue. His forecast: "An oligopoly of five to six media agencies will emerge - at the expense of medium-sized and small agencies, which will have to restructure themselves." Baier is currently in the middle of this process. With a sideways glance at a few other media chiefs who have recently gone into business for themselves, he says half-jokingly: "Some gurus will remain." Daniel Schifferle

Last weekend, the 2001 Art Directors Club of Europe (ADCE) Annual Awards were presented in London (see also page 6), and naturally a cocktail reception was part of the event.BY BEAT FRITSCH It took place in the exclusive Century Club on Shaftsbury Avenue, which is otherwise inaccessible to mere mortals. As is typical for London, the venue is reserved exclusively for members. And obtaining a membership is almost impossible for normal people because it is simply unaffordable.
It is also conceivable that when club members mingled with the ADCE guests, they included not only London's moneyed aristocracy, but also some real lords and guaranteed blue-blooded beauties. It goes without saying that Marx formulated his theories in London. Even today, class society is not only a daily reality in England, you can literally smell it.
For the first time, a so-called Lifetime Achievement Award was presented at the ADCE judging. It went to the German advertiser Othmar Severin, who is also no stranger to Switzerland. Through his national and international work, he has built up a large circle of friends who are also well known in
Switzerland. Severin was not only a founding member of the
He also served as President of the German ADC for five years and was Chairman of the Board of the German Creative Club from 1988 to 1998.
He began his professional career in 1949 at McCann in Frankfurt, London and New York, where he set up and managed the TV production department at the end of the 1950s. In 1963, he took over the position of Chief Creative Officer at Young & Rubicam for a decade, then spent four years as Managing Director at Leo Burnett before finally setting up his own business as a creative consultant. Severin, an advertising legend, did not even let a heart attack - suffered at the Cannes Advertising Film Festival - and subsequent bypass operation throw him off course.
Today, the busy and enormously committed communications expert lives with his wife Gi in Venice, from where he traveled to London especially to accept the award. The fact that he was absolutely right to receive the award was demonstrated in particular by the minutes of unending applause with which the jurors and creative club members from all over Europe paid tribute to him.
Incidentally, many jurors in the Swiss delegation missed AY&R-CD Martin Spillmann, who chaired the ADCE before the current president Barbro Ohlson. Obviously, he did such a good job during his time as president that the ADCE members also have positive memories of him.

Three companies specializing in corporate journalism have joined forces to form a strong partner: Daniel Droesch's Inspired Network, Mathias Schroeder's Schroeder Partners AG and Brigitte Hauenstein's Patchmedia.com intend to work together in future. The "holistic offer" ranges from consulting, training and coaching to a comprehensive editorial service. The contact for customers is Patchmedia.com. The cooperation team is supported by a network of experts from a wide range of communication sectors. Seminars and workshops are held in the company's own training center or at the customer's premises. The services are aimed at medium-sized and large companies, both locally and internationally (pan).