President of the jury in the Public Service and Design categoryThe Kuoni campaign outshone all others. Why is it so groundbreaking? Because you can rarely answer all these points with yes: 1. strategic consistency? 2. conceptual capability? 3. advertising idea? 4. tiekgitrasrednA? 5. rdktn (reduction)? 6. excellent implementation? 7. IQ? 8. EQ 9. credibility? 10. relevance for the target group?
How do you rate the level in your category? Do you see any new trends?
Bodin: Public Service: The standard was higher than at ADC Austria and lower than in Cannes. Design: Let's assume that our films, advertisements and posters are judged almost exclusively by designers - either we get the best designers to judge design or this category has to be flushed out. Who among us can justify why the inventive spirit contained in the Motorex bottle (a motor oil bottle with a filler neck!) should be worth less than stationery with a crack in the bowl for a psychologist?
How is the quality of this advertising vintage in general?
Bodin: It has more relevant advertising campaigns for relevant brands. However, it also has more "we're doing something for you" advertising than before. The result is unbearable in trade advertising and sick in direct advertising.
Which works could have a chance at the Cannes Festival?
Bodin: The results of the Swiss Advertising Championships are no indication of the outcome of the World Advertising Championships. At least not as long as 10000-meter runners (enlightening detergent ads) have to compete against 100-meter sprinters (still funny gay party invitations) at the ADC. Here's what I would prepare for submission to Cannes: The Hakle scales and the Hakle first-dry-then-wet demo spot, one or the other for Kuoni, the snowboard tombstones for SUVA.
What did you pay particular attention to during the evaluation?
Bodin: See 1. in particular the freshness of the idea within the category and the relevance for the target group addressed.
The ADC is 25 years old: is that why you are setting the bar even higher than usual?
Bodin: As far as I know, we've saved that for the fiftieth.

Jury President of the Overall Campaigns categoryWhat is so groundbreaking about the campaign for tour operator Kuoni that it has been awarded a Gold Cube? Vacations where you forget everything are exactly what you want from a vacation. The implementation, which is always surprising, is exactly what you want from good advertising.
How would you rate the standard in your category after looking at all the work submitted?
Schlupp: The overall campaign category was probably one of the few in which we would have liked to have awarded one more prize. For me, the two winners, Kuoni (gold) and ZVV (silver), are the campaigns of the year. The standard of editorials and book design was very different. We would have preferred to award less bronze and more silver. It was not enough for a gold cube here.
What is the general quality of this advertising year?
Schlupp: The quality of the work is as good as usual, but it has partly shifted from the large, highly visible budgets to the smaller clients.
Which works do you think could have a chance in Cannes?
Schlupp: Certainly more the simple, visually strong campaigns like our gold winners this year for ads and films. The Kuoni campaign will
The films are more difficult because, isolated from their surroundings and topicality, they need to be explained and translated. But one of the films has
already made it last year in Cannes.
What did you pay particular attention to during the evaluation?
Schlupp: As always, the idea. For the overall campaigns, the viability of the idea.
The ADC is 25 years old: is that why you are setting the bar even higher than usual?
Schlupp: On the contrary. The new judging model allowed for more bronze prizes than usual. However, no more anniversary gifts were handed out in my jury groups for silver and gold.

Danielle Lanz has left Guye & Partner and is setting up her own agencyThere is rumbling at the Guye & Partner agency. It recently lost its long-standing client SSR to By Heart, and after almost three years, Creative Director Danielle Lanz is setting up her own agency. The 1999 Advertiser of the Year plans to open her own agency soon. Guye & Partner is ranked 26th in the BSW ranking and generated gross operating income of CHF 3.7 million in 1999. Rumor has it that you left Guye & Partner at the beginning of the year. Why was there no official statement for so long?
Danielle Lanz: Christophe Guye and I agreed that the press release would not go public until the end of January. This gave us enough time to inform customers beforehand.
How do you look back on your time at Guye & Partner?
Lanz: Working with Christophe Guye was very pleasant. We had the same idea of what good advertising is and were a great team. When I joined Guye & Partner as Creative Director almost three years ago, there were nine employees; today there are 26. It was a challenge for me to take the agency - together with the copywriters and ADs - to the creative top and keep it there.
Why are you leaving Guye & Partner?
Lanz: After working as a CD at Guye & Partner for almost three years - always on a freelance basis, by the way - I am now ready for a new challenge.
It was also rumored that you were going to take a stake in Guye & Partner. Why did nothing come of it?
Lanz: Christophe Guye did offer me a financial stake, but we couldn't agree on the conditions. I therefore came to the conclusion that founding my own agency was the more attractive option for me in many respects. Now, at the age of 31, I have the desire and the drive to do it. The timing is perfect.
When is it supposed to start?
Lanz: The agency launch is planned for the middle of the year in Zurich. I will start with six employees. Talks with potential partners are still ongoing. I'm currently looking for agency premises and would be grateful for any tips.
Do you already have an agency name?
Lanz: It will be available as soon as the agency constellation has been finalized. However, an office telephone number where I can be reached immediately is already in operation: 01 212 10 47.
If you want to start with six people, surely you already have customers?
Lanz: I have already been promised two larger budgets. I will announce their names in due course. But one thing is already certain: together with freelance concept designer Markus Ruf, I will continue to manage the advertising for the BIG fashion chain. By the way, the new campaign will start soon.
What would be your dream customers?
Lanz: First and foremost, they are customers who, like me, believe that creative advertising sells better. As the Effie judging regularly shows. The industry these clients come from is only of secondary importance to me.
You have been working together for quite some time now with the Advertiser of the Year 2000, Markus Ruf, and you also won the ADC this year. Wouldn't that be a dream constellation for your new agency?
Lanz: Markus Ruf is known to value his freedom and independence. So it might not be easy to integrate him into an agency and get him interested in things like budget control, expense reports and Monday morning meetings. But it would certainly be an interesting constellation. We'll see.
Interview: Samuel Helbling

The dice were handed over at this year's ADC Gala in Hollywood style, with envelopes for the gold winners.By Beat Fritsch That's right: for once, the annual party of the elite creative group known as the Art Directors Club, with its many award-winning members, was not called a festival, but a gala. Because it was the 25th anniversary, the guest list included more Swiss celebrities than ever. ADC President Jean Etienne Aebi and Managing Director Helen Müller invited Zurich's Stapi Josef Estermann and his wife Maggie, as well as Zurich's head of culture Jean-Pierre Hoby and his wife Katharina, SRG boss Armin Walpen, Mathias Hagemann, Chairman of the Board of the Basler Mediengruppe, Migros' head of culture Jana Caniga, Publisuisse boss Ingrid Deltenre, Martin Heller, Artistic Director Expo.02, the CEO of Schweizer Presse, Peter Hartmann, director Volker Hesse, APG boss Christian Kauter, and Zurich theatermen Otto Kukla (Neumarkt) and Armin Kerber (Gessnerallee).
This year, one was astonished by the already outrageous number of gold cubes for the big ones. Never before have they, which also include some ADC members, won so many prizes. The fact that around half of the award-winning works came from non-members is often forgotten - the majority of them were awarded bronze cubes.
In principle, the jury's decisions were accommodating. With one exception! There was unanimous disagreement and a lot of grumbling about the gold cube in the radio spots category. Test driver Walti, sent into the race by Publicis for Sportplausch Wider, has, as befits a successful top athlete, also enviers.
The awarding of the Facts Press Prize to Ruedi Wyler's Rüebliland campaign ennobled the flair of WerbeWoche readers. They have already elevated the conceptual designer of the subjects, Markus Ruf, to advertiser of the year 2000.
Nobody would have expected that the events in Davos would have repercussions all the way to the Albisgüetli. Peter Schellenberg, for example, missed the gala because he was unable to do what Hannes Britschgi had just managed to do: escape from heavily besieged Davos and break through the Landquart réduit. Drôle de guerre!
The bitter pill for the TV director may have been the fact that the award he was to present was finally handed over by his arch-enemy Roger Schawinski. Whether presenter Mona Vetsch wanted to create preventive goodwill for a possible job change, we leave unanswered.
There was a lot of praise for the festive magazine "persönlicher". Above all to the address of publicist Dani "Trappatoni" Krieg for the editorial, which became a real howler according to the motto "better to refine a good idea than to have a bad one yourself".
Beat Fritsch

also tried his hand as a test eater at the new ADC restaurant "Schloss Albisgüetli". Conclusion: The chef with the carnophile name André Jaeger cooks excellent and primarily seafood. That's why he deserved at least a golden crab for his achievements at the stove. And honorary ADC membership, too - for his highly creative plates.
Who else is feasting where in the communications industry will be located at a wide variety of events on the scene. Do you already have something to report? Reach for the receiver (01 296 97 98) or into the keys ([email protected]). Event tips and more shortlist pictures are available online at www.werbewoche.ch.

Jury President of the Specialist Advertisements categoryWhy do you think no gold was awarded in your category? Because there was no groundbreaking work on the table.
How would you rate the level in your category?
Tanner: Many good works. As is usually the case in this category: many individual motifs, fewer series. The silver jury was tough, but fair.
How is the quality of this advertising vintage in general?
Tanner: From the point of view of the specialist advertising jury, the question has been answered. From what I could see in general, it was a good year. There were many excellent campaigns.
Which works could have a chance at the Cannes Festival?
Tanner: That's a hypothetical question that could only be answered speculatively. That's why I'd rather not.
What did you pay particular attention to during the evaluation?
Tanner: As always, quality, i.e.: Where is the idea? Do I understand the message quickly and easily? Is the artwork outstanding?
The ADC is 25 years old: is that why you are setting the bar even higher than usual?
Tanner: No, certainly not.

Jury President of the Electronic Publishing categoryJury President of the Electronic Publishing category
What is so groundbreaking about the Kuoni campaign that it won gold?
It is one of the few major campaigns in which a major client has the courage to make an astonishing advertising promise and implement it in a way that is not industry-generic.
Why was no gold awarded in your category?
Spillmann: Because none of the three silver works clearly stood out.
How do you rate the level in your category? Do you see any new trends?
Spillmann: In the Electronic Publishing category, the design is becoming more and more professional and the animation more and more amazing. However, I suspect that many very good works from this area were not even submitted because not everyone knows that the ADC also awards prizes in this category.
How is the quality of this advertising vintage in general?
Spillmann: It had fewer individual ads, fewer gimmicks. And instead more series based on a solid strategy and a surprising idea.
Which works could have a chance at the Cannes Festival?
Spillmann: Ideas with a never-before-seen visual have a chance: Open Systems, Opera House Nutcracker, Hakle Waage. The Kuoni campaign has also won several international awards because it dramatizes the strong consumer benefit in a completely amazing way.
What did you pay particular attention to during the evaluation?
Spillmann: On the one hand, a piece of work is evaluated by the advertiser: "Does the work have a good idea? Are the words, image, design, etc. convincing?" And on the other hand, the work is evaluated by the consumer: "Do I like looking at this work? And what do I get out of it as a consumer?"
The ADC is 25 years old: is that why you are setting the bar even higher than usual?
Spillmann: No.

Christian Wick, 37, will head the new PR department at WHS. The PR specialist is a founding member of Inhalt&Form Kommunikations AG, where he was a partner responsible for public relations for five years. From Inhalt&Form, Wick also brings his first clients to the unit: Walter Meier AG, Canon (Schweiz) AG and Atraxis Management Services AG. Wick says: "I can now offer these clients a full service, because the disciplines are becoming more and more mixed and clients increasingly want to have a contact person for all areas. "Initially, the newly founded department is to optimize the support of the new clients and the clientele of WHS. Rapid growth, on the other hand, is not planned. Wick wants to focus first and foremost on quality. (ba)

Jury President Radio and Sales PromotionWhat is so groundbreaking about the radio spots for the Walliseller company Sportplausch Wider? It's difficult for me to say, as I had to stay out due to my involvement in this assignment. But I think the spots were awarded gold because the client didn't want to get a joke, an address, a telephone number, a jingle and the twelve most important product benefits into 20 seconds. Instead, it has established an anti-hero who can be bizarre, overwhelmed and sometimes incorrect - and only ever advertises something in each spot. Personally, however, I would rather have given gold to the partner-winner radio spots.
And why was the "VBZ short stories" campaign awarded gold in the sales promotion category?
Ruf: Because it dramatizes the short waiting times of the VBZ in a surprising and wonderfully irreverent way. By summarizing all the classics of world literature that German teachers torture their students with in 60 seconds.
How do you assess the level in your categories? Do you recognize new trends?
Ruf: The level was - to put it very politely - not that great. Some spots were well thought out, but not so well done. I didn't hear any new trends in the radio spots. Unfortunately, the principle of "make a punchline at the front, then somehow bend it towards the product at the back" still dominates.
What is the general quality of the content of this advertising year?
Reputation: Lots of cake, few raisins. And a conspicuous number of them were baked in the same kitchen.
Which works could have a chance at the World Advertising Championships in Cannes?
Ruf: In print: those based on surprising image ideas, for example the Hakle single ad "Waage". Or the Nico yearbook campaign. In film: the Hakle "windshield wiper" commercial, because it explains the benefits of dry and moist toilet paper in a truly amazing way. What's more, every jury member knows the product.
What did you pay particular attention to when evaluating the submitted radio spots and sales promotions?
Ruf: That the work has a good idea. A good idea is one that you would have liked to have had yourself. And one that also looks good or sounds good.
The ADC is 25 years old: Is that why you set the bar even higher than usual when judging the works?
Ruf: No.

ADC President, without voting rights at the gold judgingThe Kuoni campaign outshone all others. What is so groundbreaking about it? Multimedia and stoppers tailored to the location of the placement, all leading concisely to the punch line.
What about the quality of this advertising year in general?
Aebi: Good to very good - except for everything that is not good to bad.
Which works could have a chance at the Cannes Festival?
Aebi: All gold winners. Plus the one or two that were mistaken for bronze. (No judging gives the pure truth).
What was the main focus of the evaluation?
Aebi: The idea. The idea. The idea. And its implementation.
The ADC turned 25 years old: Is that why the jury set the evaluation bar even higher than usual?
Aebi: No. But the mode was completely different. Instead of seven jurors, 20 discussed a category and assessed each campaign individually with marks. Without friendliness between colleagues and therefore perhaps tougher after all.
Are you satisfied with the jury?
Aebi: On the whole, the right thing was rewarded with silver and gold. A little too few advertising dimensions that break patterns. Even the ADC is not immune to thinking in familiar classic formats and solutions.

Wirz puts Bluewin in a place where the soul rejoicesThe Internet portal Bluewin has recently taken over the ideal winter mountain world with its advertising. The opportunity to do so is provided by an autonomous website designed by Wirz Werbung, Zurich. The implementation is based on the strategic term "experience portal". Based on this paraphrase of the brand identity, the website transforms virtual into real events, which it immerses in the sensuality of the winter mountain world: the portal content "News", for example, appears in the campaign as a chairlift passenger reading a newspaper, the online service "Hotels" as a snow hut under construction.
The new key visual, with which Bluewin is entering an area untouched in terms of communication in the e-area, is also used in a fascinating scene film in which the world-class snowboarders Gian Simmen and Bertrand Denerveau slide down into the Engadine valleys so acrobatically that the viewer's soul rejoices even more brightly than it already does when the white of the snow is reflected in the blue of the mountain sky.
The lower atmospheric pressure may be the cause, or the majestic sight of the Engadin peaks may be the actual reason for the feeling of happiness: The winter mountains give the Bluewin brand its home and identity. page 6

Jury president of the personal use categoryWhy do you think no gold was awarded in your category? In no other category is the creative freedom as great as in "personal use". Every entrant is the client and their own CD. If you want to win gold in this category, you really have to knock the industry off its pedestal with a high-flyer.
How would you rate the level in your category?
Stahel: Apart from a few exceptions: relatively high.
How is the quality of this advertising vintage in general?
Stahel: Above average in movies, otherwise average.
Which works could have a chance at the Cannes Festival?
Stahel: "Windshield wiper" for Hakle.
What did you pay particular attention to during the evaluation?
Stahel: Where's the beef?
The ADC is 25 years old: is that why you are setting the bar even higher than usual?
Stahel: Yes. But because the Art Directors Club now has a membership of over 120 outstanding creatives.

SRG is refraining from coordinating its web offerings for the time being, but is allowing them to be commercializedBy Daniel SchifferleIf SRG were to better coordinate its scattered internet offerings, it could easily become the Swiss market leader on the web. But the road to a joint portal is a long one. At least the individual SRG sites can now be commercialized.
At SRG, every webmaster's dream comes true: content in abundance, produced daily for the more than a dozen radio and TV programs, is also available for their Internet sites. And with an estimated 15 million page impressions per month, SRG's website is one of the most successful in Switzerland.
Although detailed usage figures are not available for all websites, the success of www.sf drs.ch alone gives an idea of the popularity that SRG also enjoys on the Internet. According to last year's MA Comis by Wemf, the SF 1 and SF 2 site is the most popular media site in German-speaking Switzerland, even ahead of blick.ch.
If the radio and TV sites in French-speaking Switzerland and Ticino were also included, SRG would easily come close to the Swiss market leader blue win.ch, whose widest user base (WNK) of 859,000 people is only around twice as large as that of sfdrs.ch.
But this is precisely the big problem with SRG's internet presence: everything is loosely scattered on over half a dozen individual sites. Combined in a joint portal, this would create a concentrated offering - and a platform that is also ideal for commercialization.
In the portal issue, the
Publisuisse no ear for music
This is why Publisuisse Director Ingrid Deltenre emphasized the importance of the Internet for SRG more than a year ago in an interview with Facts and expressed her desire for this potential to be tapped quickly. Last November, she announced in WerbeWoche (WW 42/00) that decisions would soon be taken to clear the way for the launch of a joint SRG platform. Deltenre's dream: an SRG portal that brings together all the power of the currently still separate offerings. And can be marketed. The idea, concept and business plan - everything is ready for implementation in Publisuisse's drawers.
But the initiative has come to a standstill. A decision in principle should have been made in mid-January as to whether the individual sites would move towards a joint portal or not. But nothing has happened. Deltenre told WerbeWoche that she was no longer responsible for the portal issue and that she was not allowed to provide any information on the matter.
Does this mean that the dream of an SRG portal is definitely off the table? SRG spokesperson Josefa Haas puts it into perspective: "The Publisuisse proposal is being looked at and discussed at management level. However, no decisions have yet been made for or against it. But it is still being intensively analyzed and discussed", she says and specifies with a view to a joint portal: "If we see that certain issues need to be regulated nationally, then the decision lies with the management". But for the moment at least, the individual departments within SRG seem to have once again fully asserted their proverbial garden-variety thinking.
Service for fee payers, not an independent offer
The common path was planned. After all, Radio DRS boss Walter Rüegg, the SRG's leading man when it comes to Internet offerings, was also supposed to pull the strings for tying the various sites together. But instead of a joint approach, it will now be a solo effort, at least for the time being: Rüegg will launch a new Internet offering for Radio DRS this summer.
Nevertheless, SRG spokesperson Haas does not want to talk about a lack of willingness to cooperate between the company units. "Those responsible for the Internet regularly exchange information within SRG SSR," she says.
At the same time, she recalls SRG's strategy when it comes to new technologies. A step-by-step approach was deliberately chosen. "We want to monitor developments carefully and not rush into new technologies that have not yet gained widespread acceptance in the market," says Haas.
She emphasizes a central task: "The internet offerings are clearly positioned as a service for fee payers: Another channel on which they can consume products for which they already pay fees and receive additional information about them."
However, this only applies to those SRG customers who know how to find what they are looking for. As long as the sites are not combined in one portal, there is no transparency about the entire offering. SRG mentions two main access points to which all individual websites are linked: At the international level, the swissinfo.org site of Swiss Radio International, and at the national level, the srg.ch site. However, the latter is primarily reserved for corporate communication, and swissinfo.org is also unlikely to be known to the public as a point of entry from which one can access the sites of the various SRG departments.
The fact that the Internet offers are not advertised at all or only very quietly makes the search more difficult. Despite the lack of promotion, the public is already making ample use of them. Haas estimates that more than 100,000 audio and video files are downloaded from the various sites every month. An astonishing figure when you consider how poor the quality of video streaming is today - and proof of a widespread and growing need to be able to consume programs in a time-shifted manner.
But despite these rosy prospects, the plethora of various sites remains scattered in the SRG cosmos for the time being. At least Publisuisse boss Ingrid Deltenre has been given a treat: The individual sites may now be commercialized.
This is an important step, as until now banner advertising has only been sold on sfdrs.ch and even then only very cautiously. However, even with this opening, the SRG departments will retain the say, as Publisuisse must negotiate separately with each business unit as to whether and how commercialization takes place.
Top media sites in Switzerland1

Site WNK2sfdrs.ch 419000
blick.ch 417000
tages-anzeiger.ch 305000
nzz.ch 255000
tv3.ch 176000
sundayview.ch 170000
facts.ch 169000
cash.ch 150000
observer.ch 143000
bettybossi.ch 135000
sundaynewspaper.ch 121000
1 Source: Wemf, MA Comis 2000; 2 Widest circle of users: Number of people who have used the website in the last six months.
Web offers of the srg

Site Unternehmenseinheitwww.srg.ch SRG SSR idée suisse
www.swissinfo.org Swiss Radio International
www.sfdrs.ch SF DRS
www.drs.ch Radio DRS
www.tsr.ch Télévision Suisse Romande
www.rsr.ch Radio Suisse Romande
www.rtsi.ch Radio Televisione di Lingua Italiana