From September 1 to October 17, 2014, the Year of Advertising competition gives agencies and companies the opportunity to showcase outstanding individual achievements and campaigns in the categories of print, out-of-home, film, audio, direct marketing, promotion and digital media.
to submit. An independent jury of experts consisting of clients from the corporate side, creatives and strategists from agencies as well as representatives from the media and specialist media - including once again Werbewoche editor-in-chief Pierre C. Meier - guarantees a neutral comparison of performance that attracts the attention of creatives and provides clients with helpful orientation within the respective industry.

Last year, two Swiss companies were among the award winners: Swisscom won the gold megaphone in the Out of Home category with its "All Eyes on the S4" campaign and Pitsch Sport, together with Agentur am Flughafen, won the bronze megaphone in the Direct Marketing category for its Skiwaxbrief. This year's contenders for a megaphone can apply at Jdw.com log in.

René Eugster from Agentur am Flughafen with the bronze megaphone (direct marketing) for Pitsch Sport

Since August 11, young agencies have also been able to apply for the title of Newcomer Agency of the Year 2014 free of charge. Agencies that were founded after January 1, 2012 are eligible. They will be judged on the quality of their creative services, their commercial success and their communication measures on their own behalf. In addition to the prestigious title, the winner will receive a voucher for 5,000 euros, which can be used in the regular competition. Registration and further information at Jdw.de/newcomer. The application deadline is October 17.

From September 1 to 30, 2014, the Campus competition for young talent is looking for inspiring university theses (Bachelor's, Master's, Diploma) in the fields of communication design, media design and advertising. You can also register and present your work free of charge at Campus.jdw.de the graduates take part. New this year is the second round of judging, in which the shortlisted students present their work directly to the jury once again.

All award winners, the jury's shortlist and the works included in the industry comparison will be presented in the 2015 Year of Advertising book, which will be published in April. The winners will also be honored at the awards ceremony in Berlin at the end of January.

[BUs for pictures]
"AgenturDJahres2013_HEIMAT.jpg" The winners of the last competition: HEIMAT BERLIN was Agency of the Year 2013
"AgentFlughafen_eugster.jpg" René Eugster from Agentur am Flughafen with the bronze megaphone (direct marketing) for Pitsch Sport
"MegaphonVisual1.jpg", "MegaphonVisual2.jpg", "MegaphonVisual3.jpg" THE YEAR OF ADVERTISING is looking for the next Megaphone award winners
 

Some wanted it this way: Justin Bieber owes his career to his mother, who posted his performances online. Others aren't asked if they want to (I'd love to be there when Hanna confronts her parents in ten years' time - type "Hanna, say braid" into YouTube)!

Comedians, models and singers post their skills on the web in the hope of being discovered by online talent scouts. And they have been active in English-speaking countries for a long time. Employees of the United Talent Agency, for example, surf in the hope of finding diamonds in the rough. Special people and stories that can be marketed and which they then link directly to advertising agencies in order to build them up in a targeted manner. And they do this before the general public discovers them.

Of course, we are a long way from that in Switzerland. Our output in terms of internet celebrities is still limited to Massimo swearing in his car (pushed by Blick and later a guest on "Giacobbo/Müller") or the #selfiegate secretary from the Federal Parliament (whose story even made it into the New York Times - although only her chest was pixelated there. Priorities are a must!) As we Swiss are always suspicious when someone stands out from the crowd, it's not surprising that the 15 minutes of fame have mainly negative consequences for the person concerned: Massimo can no longer find a job, and secretary A. may have already lost hers. She would be lucky if her pornography at least benefited from the attention.

It's difficult to become a cyber celebrity in Switzerland, but already well-known personalities can continue to make a name for themselves. Or dismantle them just as quickly. "We race along the data highways at 3000 kilometers per second, (...) but we still know far too little about how to protect ourselves adequately from accidents. (...) The biggest enemy: ignorance. Until something actually happens, we often think we are invulnerable. It's the same as in road traffic," writes Martin Hellweg in his book "Safe Surfer", in which he gives practical tips on protecting privacy in the digital age*. "A careless moment can change lives in today's digital world. " Geri Müller would confirm this.

Once on the net, always on the net. Although it usually still takes the traditional media to inform the general public. Images on Facebook, Twitter or Instagram are reused by other media without being asked - you have to be aware of that. An emotional tweet on a political topic is suddenly quoted the next day, and you may inadvertently become a figurehead. "When acting, always consider whether there is a good balance between benefit and risk. If this is not the case, it is better to simply leave it alone. That's the best protection," says expert Hellweg.

So the evil, evil digital world? Is it best not to share anything at all and with anyone? On the contrary - we need to use the digital world, which has long since merged with our real world, to our advantage. On the one hand, well-known personalities need to maintain direct contact with their audience, which is otherwise so difficult. To communicate, including private matters, but only what they want to (perhaps to distract from what they would rather not reveal). And for the advertising world, on the other hand: highly digitally networked personalities rarely seem to be used as influencers and multipliers in this country. And when they do, the offers are only half-hearted - free yogurt or - as a reward for posts and tweets - "media presence". It's clear that this doesn't attract anyone from behind the stove. Today, online presence is a must. But to stay with the image of the digital highway - here, too, "luege, lose, loufe" or "consider, weigh up, post" applies. Hanna would be grateful.

*Hellweg, Martin: "Safe Surfer - 52 tips to protect your privacy".
Privacy in the digital age". www.safe-surfer.com/buch

Andrea Jansen is co-owner of the people management agency Andreas&Conrad. She tweets under @jansenreistrum
 

Wirz Wietlisbach Dialog is the performance-focused agency of the Wirz Group and offers a wide range of dialog and response activities to clients such as Swiss Post, Betty Bossi and TCS. Founded just three years ago, the agency is excited to be in the spotlight in 2014. With two gold and three silver awards, it was the runaway winner at the Swiss SDV Awards. The most successful Swiss agency also won gold and silver at the German Dialog Marketing Award. At the same time, co-founder and name giver Guido Wietlisbach retired from his CEO function to the board of directors. Operational responsibility is now borne by a trio: Stefan Dätwyler remains on the management board. He is now supported by the creative Jörg Bewersdorff and the consultant Nadine Vasella.

Stefan Dätwyler is a founding member of Wirz Wietlisbach Dialog. He also shaped the eventful prehistory of the still young agency, whose roots lie in the digital sector. As a trained graphic designer, Dätwyler originally worked in classical advertising. Among other things, he worked as an art director at Advico Young & Rubicam. However, he entered the Internet age at a relatively early stage. In 1998, he joined the international Internet service provider Pixelpark and moved to Berlin. A year later, he returned home on behalf of the group to set up the creative departments for the new offices in Basel and Zurich. "At the time, clients were literally beating down the door to Swiss digital agencies," Dätwyler recalls. Smiling, he adds, "That's why we preferred to go into business for ourselves back then and set up our own company, Endeed Interactive. "

In 2002, Endeed merged with Wirz Interactive and was renamed Assai - the predecessor agency of Wirz Wietlisbach Dialog. "At that time, we were constantly among the top 3 in the online sector," says Daetwyler. The 2007 renaming to Assai Dialog + Digital already marked the increasing importance of dialog marketing for the group, which was finally addressed in 2011 with the founding of Wirz Wietlisbach Dialog. Meanwhile, his enthusiasm for digital communication has remained with the juror of numerous creative awards. Whereby, as he says, he "basically thinks channel-neutral." "For me, it's all about the idea. The channel in which it is then communicated depends on the message and, above all, the target group."

As Managing Director, Nadine Vasella represents consulting on the executive board - and at Wirz Wietlisbach Dialog, this is not a subordinate function, emphasize the two creatives at her side. Vasella started her career as an advertising assistant and later as a marketing and communications manager. Her first stations were the Internet platform Car4you and its parent company, Eurotax International. From here, she moved to the agency side. As a consultant at Ogilvy One in Zurich, she met Guido Wietlisbach, then head of the agency. After completing an MAS in fundraising, she went to Pro Senectute and later to the Swiss Red Cross as head of fundraising. "It was the social aspect that attracted me," says Vasella. According to Vasella, the main reason why she switched from non-governmental organizations (NGOs) to the agency side again was that she was "more suited to the agency business with its constantly changing tasks. She continues: "It's true, I'm more of a numbers person. That's why I feel so comfortable when it comes to extensive testing processes and the resulting learnings." When Wietlisbach asked her in 2013 if she would like to take over as head of consulting at Wirz Wietlisbach Dialog, Vasella jumped at the opportunity. She feels she is in the right place at the Wirz Group's dialog agency. "In a dialog marketing campaign, you can usually check the success of the measures used exactly. "With time, you understand the mechanisms behind it and can thus predict the effectiveness of details. She would also like to make more use of this experience to support NGOs from the agency side.

Jörg Bewersdorff has been heading up creation together with Stefan Dätwyler since 2012. The copywriter and concept developer landed in dialog marketing rather by chance - after all, a fortuitous decision that has proven itself over the past 16 years, according to Bewersdorff. Instead of dialog marketing, however, he prefers to speak of "emphatic marketing". That, he says, more precisely sums up what the discipline is all about. "You have to empathize with the target group to find the stories that are relevant to them." Direct contact with the target groups is also what still makes him happy to reach into the keyboard himself every day. Bewersdorff learned the "craft of copywriting" at Ogilvy One in Frankfurt am Main. This is also how he came into contact with Switzerland "many years ago". At that time, Bewersdorff worked on an international project for Ogilvy One Switzerland - on behalf of Guido Wietlisbach. Before leaving his native Germany two years ago, he gained experience at various creative agencies and international network agencies such as McCann Erickson Communication House in Berlin, Springer & Jacoby Direct and TEQUILA \, both in Hamburg. Bewersdorff is convinced that dialog marketing is a promising form of communication for the future. "The importance of social media plays for us. It gives us a much better idea of how people react to measures."

Not least because of this back channel, he is a fan of social media. "Furthermore, people's media usage behavior in recent years is playing extremely into our cards." People are now used to communicating directly with companies and their brands, he says. At the heart of the multi-award-winning "Advertiser Anonymous" dialog marketing campaign is dialog marketing itself: The campaign, commissioned by Swiss Post, aims to strengthen the image of direct marketing among advertising and media agencies. The target group is addressed in a way that is unusual for Swiss Post: instead of putting their own services in perspective, the postmen make fun of advertisers and their ideas of direct marketing. "The customer needed a campaign that breaks with the expectations of this demanding target group," Bewersdorff says. "The thing is, as an agency representative, when I get advertising from the post office on my desk, I know beforehand that I'm definitely not interested in it," Bewersdorff continues. Of course, that's not true, but in case of doubt, the target group doesn't even know that, because they throw the advertising away or skim it.

According to Bewersdorff, the postal service - like dialog marketing in general - unjustly suffers from an image problem. The negative external image results from the experience at the own mailbox: mass advertising. "Within the Wirz Group, on the other hand, people always appreciated the agency," Dätwyler clarifies. As early as its founding in 2011, Wirz acknowledged the importance of dialog marketing as a discipline in its own right. "The awards have played their part, but internally we are perceived positively primarily through intensive contact." In internal presentations, he said, the versatility and craftsmanship inspire enthusiasm. For recipients, too, dialog marketing measures are ideally not annoying mass advertising, but surprising and tailored to their needs. And thus correspond to a trend. "Campaigns with dialog marketing components simply work better - in the future, they will be the rule." There is a general tendency to be measured more by performance.

Day-to-day business has not changed massively with the change in management, the new management trio agrees. Guido Wietlisbach is still called in for strategic decisions. "Strategy is his strength and his passion - and he can now devote himself fully to it," said Vasella. During the conversation, however, an important expansion of the portfolio was announced. From now on, the company will also offer analytical CRM and the entire area of customer value management. In order to address the right people with the right messages at the right time via the right channels in an even more targeted manner, the agency is now relying on the support of partner Datalogue for the evaluation of customer data. "There's still a lot of room for improvement in Switzerland," says Vasella. Many companies have excellent customer data, he said, but don't have the contacts on the agency side to also use this capital sensibly and profitably. Dätwyler and Bewersdorff are convinced that analytical CRM and customer value management are not at odds with the creativity that is otherwise so emphasized. It is not as if Wirz Wietlisbach Dialog were a hotshop. It is not without reason that the company is the exclusive partner of the German Institute for Communication Analysis and Optimization (IKAO) in Switzerland. Whose "scientific dialog structure measurement has helped numerous customers achieve greater impact with their advertising materials," Dätwyler confirms. "That's right," Bewersdorff adds. "We are actually rather structured craftsmen who additionally have extreme fun with good creation."

Simone Isliker

 

After a longer stay in Italy in our office South, I landed back here in the advertising world of Zurich and therefore quickly looked around to see if I could sift good and also abominable advertising. Of the few advertisements except on TV, I could not see anything, understand anything and thus discover nothing good.

In the daily newspapers, apart from sex, death or bargain ads, there is actually no advertising at all. On the Internet, the pop-ups from the NZZ are annoying. The advertising is also too print-oriented, and I have never clicked.

My concentration then turned to two media. The German Vogue, 402 pages, 50 percent advertising. The Coopzeitung, 112 pages, far more than 60 percent advertising. One is the advertising drum of Coop and the largest weekly newspaper in Switzerland. "You'll find new delicious recipes, exciting reports and competitions," it says on Google. What it doesn't say, however, is that far more than half of it is filled with junk advertising of the lowest drawer. Promotional advertising with hundreds of elements, symbols, small texts, amateurish illustrations, ugly color combinations. You can imagine what I mean.

At Vogue magazine, you encounter a whole different world. Superbly photographed, designed and laid out editorial section. Uncluttered, calm, original advertisements from 3 double to 1/3 pages are a boon.

Whose theory is it to think that only luxury products deserve better and more modern advertising? My theory is different: I believe that those who commission advertisements in the Coop newspaper think that the price guns on a yellow background must be overloaded with red prices, a receipt and a contest, etc., in order for them to get noticed. Mistake!

Why, dear coop newspaper makers, why don't you apply the principle of Vogue? It seems to work quite well. There, products are presented editorially under various topics (product placement). The Coop editorial staff could promote products on topics such as wine drinking, beauty care, cooking, etc. by means of product placement instead of ugly ads in a loose and appetizing way.

Another theory of mine: I believe that behind the Vogue ads there are few people who are competent to make decisions. And at Coop, whole decision-incompetent committees.

My opener of the week was winning the legendary Petangue tournament at Lindenhof last Sunday together with Rolf Hürlimann.

Theophil Butz, graphic designer, advertising agency owner, inspirer and, for more than three years now, also a mothballs for Werbewoche readers. Please send any relevant information to [email protected].
 

The unusual animal relationships appear offline and online in diverse formats and applications. Both in German and in English. 

Responsible at Hiltl: Rolf Hiltl (overall responsibility), Marsha Lehmann (marketing + communication). Responsible at Ruf Lanz: Markus Ruf, Danielle Lanz (Creative Direction), Marcel Schläfle (Art Direction), Florian Birkner (Text), Laura Hofer (Graphics), Sabrina Luck, Christian Brütsch (Consulting). 

 

Von Weissenfluh succeeds Marco de Stoppani, who is stepping down at the end of September "as has been planned for some time". This was announced by Mediapulse on Thursday. Von Weissenfluh is a multiple member of the Board of Directors and Chairman of the Board - including Bernexpo.

De Stoppani has accompanied Mediapulse since its establishment and successfully led it through difficult years, the foundation states in the communiqué.

Mediapulse measures radio and television usage figures for the whole of Switzerland on behalf of the federal government. The data influences advertising prices and the fate of broadcasts. At the beginning of 2013, Mediapulse made headlines when doubts were raised about data collected after the switch to a modern measurement system. (SDA)
 

The new commercial for the Hanover Chamber of Skilled Crafts impresses with great effects, but misses the point. The core message at the end of the commercial is a little too short: the invitation to school leavers and young career changers to lend a hand. At least on YouTube, however, the cinema version of the advertising film is explained: "There has never been so much to do - unsolved tasks are waiting everywhere. But in every challenge there is also an opportunity"

However, moviegoers don't usually want to understand commercials in cinemas, they want to be entertained. The campaign slogan "The world has never been so unfinished. Get involved." is actually not such a bad idea.

If you still prefer to enjoy action movies with a "Jööh effect", you should watch the "Action Movie Kid". The second part has just been released on YouTube, as Storyfilter.com and has already been clicked on over a million times. (uma)
 

As an editor, she was previously responsible for the content of the "Literaturclub" and produces radio programs, in particular the literary background program "52 beste Bücher" on SRF 2 Kultur. After studying languages and economic and cultural area studies in Passau, she worked for the publishers Hanser in Munich and Schöffling & Co. in Frankfurt and, from 2003, for the magazine "Du" in Zurich. Since 2007, she has been an editor for SF and SRF's "Sternstunden" and a freelancer for Daniel Keel, the publisher of Diogenes Verlag. She is also the editor of the books "Lustig ist das Verlegerleben - Briefe von und an Daniel Keel" and "Spätlese - Aufsätze, Reden und Gespräche von Daniel Keel".

The team of critics is being expanded: eight experienced literary experts will take it in turns to discuss literature. Martin Ebel, Elke Heidenreich, Hildegard Keller, Christine Lötscher, Rüdiger Safranski, Julian Schütt, Thomas Strässle and Philipp Tingler will take a permanent place in the expanded team of critics of the "Literaturclub". Christine Lötscher, Julian Schütt and Philipp Tingler will be guests on the September program. The team of critics for the October 21, 2014 broadcast consists of Elke Heidenreich, Thomas Strässle and Philipp Tingler.

SRF is recording the "Literaturclub" in the Papiersaal Sihlcity in Zurich for the public and in front of an audience. The new round, hosted by Nicola Steiner with critics Christine Lötscher, Julian Schütt and Philipp Tingler, will start its first broadcast on Tuesday, September 30, 2014.
 

The fictitious commercial advertises a new beauty product from Maybelline that can be used instead of make-up. It helps effectively against wrinkles or large pores, ensures the perfect skin tone and even makes an unflattering nose disappear. Quick to use and inexpensive at the same time, it provides a fantastic effect. If there is a demand for the product one day, it could easily be launched. (sis)

Belinda Sallin has been a writer for "Dok" and "Reporter" since 2008. From 2002 to 2006, she was editor-in-chief of the political magazine program "Rundschau", for which she had worked since 1998. Belinda Sallin joined Swiss television in 1996 as an editor on the program "Lipstick". She studied German literature, philology and communication sciences at the University of Fribourg in Üechtland and graduated in 1994.

"Documentaries are my great passion. I am delighted to be able to help shape SRF's own documentary productions together with Marius Born and a team of outstanding authors," says Belinda Sallin. Marius Born is looking forward to "a close, inspiring collaboration," according to the press release.

With the move to the Culture department in spring 2014, various tasks in the documentary and reportage area were already reorganized in April: Nathalie Rufer is Deputy Head of Division and Editorial Director of Reporter and mitenand; Frank Senn heads the DOK Series editorial team; Urs Augstburger is responsible for Pacte; and Michèle Sauvain is in charge of co-productions and special programs. Marius Born heads the Dok external productions team in addition to his role as Head of Department.

In addition to the traditional programs "Dok", "Dok" series and "Reporter", the documentary film part of the Pacte de l'audiovisuel, the contract that regulates cooperation with independent filmmakers, is now also part of the department. In co-production with SRF and SRG SSR, documentaries are produced for the cinema or for the programs "Dok", "Sternstunden" and "ch:filmszene". The program "mitenand" rounds off the division's offerings.

The classic campaign starring Floralp, the preferred butter, continues with a series of posters. This year, rolls break out of the bread basket to snatch the irresistible preferred butter. The posters featuring the Butterschelmen can be seen throughout Switzerland from September.

Responsible at Floralp: Peter Ryser (Managing Director BO Butter), Martin Rüst (Head of Advertising & Promotions SMP), Xenia Hupp (Project Manager Advertising & Promotions SMP). Responsible at Leo Burnett: Christian Bircher (CD/Art), Patrick Suter (CD/Text), Axel Eckstein (ECD), Annika Seidel and Andrea Aegerter (Consulting), Suzana Kovacevic (Art Buying); Photographer: David Willen; Image Editing: Tania Willen.
 

 

Denise Flury joins the consulting team. She was previously Marketing Specialist at Swisscom IT Services and brings event experience with her. In addition, Brigitte Hager will support the team for two months. She holds a Master's degree in Corporate Communications and was Marketing Assistant at Post Finance.

In the In Flagranti Academy, the development program for young talent, Nadine Zuber will be starting as a prospective consultant in September. She has a Bachelor of Art in media and communications in her pocket. Prisca Meier is also graduating from the Academy - as a graphic designer with a degree.

In creation, Selina Gerber has begun her apprenticeship as a graphic designer.