The birth of the Federer twins was a big topic in all the media yesterday. Erdmannpeisker, together with its customer Bimbosan, seized the opportunity and launched a "2 for 1" promotion to coincide with the event. The advertisement was published in yesterday's Blick am Abend.

Responsible at Bimbosan: Daniel Bärlocher, CEO. Responsible at Erdmannpeisker: Gabriel Peisker and Sybille Erdmann (overall responsibility), Patrick Fawer (AD), Daniela Müller (consulting), Urs Zwyssig (text).

The National Council relies on self-regulation: the credit industry should define for itself what exactly is prohibited. The law merely stipulates that consumer credit may not be advertised aggressively.

If the Council of States also agrees, the industry must define what is prohibited in a convention. If no agreement is reached within a reasonable period of time, the Federal Council will determine what falls under the ban. Anyone who violates the rules will be fined up to CHF 100,000.

No forms on the street

According to the draft convention on self-regulation, the credit industry wants to refrain from advertising instant loans that suggest that the loan is available without a credit check, among other things. The industry also wants to refrain from distributing credit application coupons on the street or advertising coupons reminiscent of banknotes.

According to the Federal Statistical Office, 19% of young adults between the ages of 18 and 29 lived in a household that had taken out at least one consumer loan in 2008. Among 30 to 49-year-olds, the figure was 18.2 percent. In both age groups, around 9 percent lived in a household with a critical volume of overdrafts or arrears. (SDA)
 

The concept developers behind the store: Richard Rau (left) is the owner of the Zurich-based Rau advertising agency and has an affinity for beautiful interiors. He has been Creative Director of the Interio catalog for almost 20 years since the first edition. Alfredo Schilirò is the owner of the PR agency Flowcube Communications.

WW: What is the concept idea behind the "Weltraum Concept Store"?
Alfredo Schilirò: The mother of all concept stores is "Colette" in Paris. 10 Corso Como" in Milan and "Jeffreys" in New York have achieved cult status. Concept stores like our "Weltraum" offer an exciting shopping experience. They are characterized by the mix of brands that are showcased. A concept store is also characterized by the selection of products. These are things that you don't find everywhere and especially not in this combination.
Richard Rau: There is another component to our "Weltraum Concept Store". We provide "start-up assistance" for areas with commercial space. Our "Weltraum" is not tied to a specific location. On the contrary. It shapes the respective surroundings through its presence. And that is also the origin of the format, which addresses the needs of developers, real estate managers or landlords. We temporarily fill vacant spaces with the "Weltraum Concept Store", attract the attention of potential tenants, arouse public interest in the location and increase its attractiveness for existing tenants through higher visitor frequencies.

How did it come about?
Schilirò: The origin - or big bang - of "Weltraum" was when my agency Flowcube Communications was commissioned by the developer Allreal to handle communications for the Richti site in Wallisellen. The initial situation was that the Richti site - built by five renowned international architecture firms - contains owner-occupied and rental apartments as well as office buildings, but only a few people know that there is also commercial space there. Flowcube has developed a concept and measures to raise awareness of the commercial activities on the Richti site. This is to support existing tenants, but also to make potential tenants aware of the space. As part of the overall communication offensive, we have developed the "Concept Store" measure, among others. It is being implemented by Sailors of Success GmbH, which consists of the partners Richard Rau, Oliver Rau, Mauro Dimitri and myself. The communication for the "Concept Store" has drawn increased attention to the Richti site. People have come because of the concept store who would otherwise never have visited Wallisellen and who have thus become aware of the entire area for the first time. The store is a revitalization, which also benefits existing commercial tenants because it generates a whole new level of footfall.

What can you find in the store?
Rough: "Weltraum" as a name is completely open and allows for many things. However, we determine the mix of products and brands, which must be in line with our philosophy of an attractive concept store. The format per se - size of the location, duration of the store and other components - is adapted to the needs of the developers and real estate companies that have commercial space to let and commission us to do so. With "Weltraum", we go wherever an area or shopping center needs to be revitalized.

The store as a tool?
Schilirò: Exactly. Our concept store is a marketing tool with which you can generate attention and create frequency. Always with the "Weltraum" brand and always with the mix that we define individually with the brand partners. These are selected according to the components that we consider useful and enriching for such communication, so that the meeting point becomes attractive.

What exactly is there to buy here in Wallisellen?
Rough: There are products from well-known and lesser-known brands that we believe have potential and make up the attractive mix of "Weltraum". The range extends from selected books, music systems, art, glasses, furniture, interior design objects, clothing, shoes and perfumes to stationery, carpets and accessories.
Schilirò: We have around 40 brands in total. Including South Garage. This is a customizing manufacturer from Italy that produces tailor-made motorcycles. It is important that the products tell a story. We also try to communicate and sell a lifestyle that we personally like.

How is the offer communicated?
Rough: Sailors of Success is backed by the expertise of advertising agency Rau and PR agency Flowcube. Ideas from these two areas are needed to publicize the store. Alfredo Schilirò communicates strongly with Flowcube via the public relations channel with a focus on media relations. Oliver Rau and I work heavily with Facebook through our advertising agency and are in the process of building a community. We are also developing advertising measures and have a presence on the website. Mauro Dimitri, who also works at Rau and has around 20 years of retail experience, sells and communicates on site in the Weltraum Concept Store.
Schilirò: Of course, "Space" is also a stage for our brand partners. They can use the platform and organize events - for their brand and with their target groups. This in turn brings new people to the area. So it's a win-win situation for everyone involved, for the client who buys our tool, for our brand partners and for the end consumer, who finds a vessel that he has never seen before in this form with such a mix of brands. This closes the circle.

How are sales going: does anyone actually buy a motorcycle when they visit the store?
Rough: Of course, this is not an impulse buy. But there is also a target group that would never expect to see a motorcycle here. And then such visitors suddenly get the idea, partly because these motorcycles are not primarily about technology, but about lifestyle. But sales are not the main focus. Above all, we want to act as a magnet.

What happens after Wallisellen?
Schilirò: The launch of the "Weltraum" brand took place on the Richti-Areal. The next store will most likely be in the center of Zurich. Various options are open. However, it is also possible that there will be different "Weltraum" stores at the same time - in line with the needs of our clients in Switzerland and internationally. It is also conceivable that our Weltraum brand will stand for other services in the future. After all, space is boundless.

Interview: Andreas Panzeri

 

The ship rammed into an iceberg and sank a few hours later. More than 1500 people lost their lives. Everyone has been familiar with this tragic story since the 1997 film adaptation starring Leonardo di Caprio and Kate Winslet. To mark the 100th anniversary of the Titanic, English book publisher The History Press recreated the disaster - in real time, on Twitter. "Experience Titanic's epic journey with minute-by-minute tweets as if from on board the ship itself." This is the description of the Titanic account @TitanicRealTime, which currently has over 69,000 followers. The campaign was repeated again this year. The first tweet was posted just over a month before the anniversary of the disaster. Numerous other messages followed over the next few weeks. Depending on the author of the tweet, different hashtags were used, such as #captain, #crew or #engineer. All tweets are based on testimonies from survivors. In addition to the crew, the passengers also had their say, such as #firstclass, who raved about the magnificent chandelier, the delicious food or the beautiful weather: "Woke up to yet another marvelous morning. The weather truly has been kind to us this far."

Of course, thanks to the original live feed, we were also able to witness the dramatic sinking of the "Unsinkable" up close. After the iceberg collision at 23:40, the first desperate tweet came from the # captain: "Just been woken by a tremendous crashing sound, what is going on out there?". This was followed by more from the #crew: "How can this be happening? This ship is unsinkable!" and the #thirdclass: "Water is beginning to build up, this is not looking good! Where is my wife?" until the moving #bandmaster: "Gentlemen, the end I fear is fast approaching, what to play next... Nearer My God To Thee, I think."

Since its launch in 2011, the account now has almost 70,000 followers. In the meantime, @TheHistoryPress also uses this channel to cross-promote other products. The followers accept this. With this project, The History Press, a dusty old-school publisher, shows us once again that everyone has a right to be active on social media, because the only thing you need is the right (credible) idea.

Manuel P. Nappo, Director of Studies CAS Social Media Management HWZ Zurich University of Applied Sciences. www.fh-hwz.ch/smm
 

This allows us to draw conclusions about the unconscious information-processing mechanisms that precede behavior and paints an unvarnished picture of implicit associations with advertising, brands, products, or individuals by capturing precisely these spontaneous, unreflective reactions from survey participants through short response times. After all, brain research has shown that unconscious perceptions, feelings, and thought processes determine over 95 percent of human behavior.

The Impact Check from *Werbewoche*, April 2014
 

Detailed Results

Olaf Pilleri is one of the many lecturers at the SGV master class. His main occupation is co-owner of the Bern-based advertising agency Wapico.

WW: As one of the lecturers, how much interest do you see from professionals in going back to school?
Olaf PilleriThe interest of professionals is great, as this is the only training course of its kind in the whole of Switzerland. In this sense, it is also unique.

For whom is such a course suitable?
For all graphic designers who want to be more than that. For example, for those who are thinking of setting up their own agency or office, or for those who aspire to an art director job. Olaf Pilleri is one of the many lecturers at the SGV master class. His main occupation is co-owner of the Bern-based advertising agency Wapico.

What can you learn?
It's not a graphic design course! Instead, you learn to think, write and do math. No, joking aside: you learn what it takes to run your own business. And you learn to think and work conceptually.

The SGV's invitation to tender says "Step on the gas again?" - Does this invitation fall on open ears?
Yes, you have to step on the gas. Because training always takes place on Fridays and Saturdays. This is not without its challenges. For the final thesis after four semesters, you definitely have to step on the gas.

Which materials and subjects are the participants most interested in?
I'll answer the question very personally: all subjects taught by lecturers who have something to say.

What does a day at school actually look like - is there more practice or theory?
More theory. But taught by people who have both feet on the ground.

What has changed most in the graphic design profession in recent years?
The profession has become much more complex. There used to be photographers, typesetters, lithographers and retouchers. Today, in the worst case scenario, graphic designers have to combine all of these professions and do the corresponding work themselves. And things are also moving fast in the media world.

How is the industry reacting to the offer?
The industry has responded positively to the offer, which I can judge from my own perspective. However, better awareness and visibility of the training would certainly be good.

What do students expect from the diploma and what does it actually achieve?
You'll have to ask the graduates! From what I hear, the training brings all sorts of benefits.

What is your experience as a lecturer?
My experiences have been consistently positive. People really want to know, and this is extremely challenging for me. I'm not a teacher who knows how it works.

What do you want to convey?
For example, I want to teach graduates how to make a good presentation or how a budget is calculated and what it looks like. And then I also think it's important to talk about personal things from your professional life, including negative experiences.

Why do you teach these courses?
Nothing comes from nothing! I think it's important that advertising agencies not only complain about the lack of young talent, but also pass on their experience and knowledge.

Interview: Andreas Panzeri

Advertising on mobile daily newspaper websites has a similar impact as on traditional daily newspaper websites. This is confirmed by the latest mobile advertising effectiveness study by the German premium marketer OMS. The difference between mobile and desktop advertising lies primarily in the way they work: Due to the smaller, easier to grasp and more focused mobile advertising, mobile campaigns on daily newspaper websites achieve a particularly strong brand awareness (plus 9 percent compared to desktop). Advertised brands are thus anchored more firmly in the minds of users via the mobile channel.

On the desktop, on the other hand, advertising pays particular dividends in terms of image (up 16% compared to mobile). Brands can be presented more elaborately and with extensive storytelling, and desktop advertising media are larger than mobile advertising media. The results are similar in terms of purchase preference: Mobile and desktop advertising increase the purchase intention of users to the same extent.

"For advertisers and media agencies, these results mean one thing above all: in order to achieve maximum advertising impact, they should increasingly rely on campaigns in which different segments such as mobile and desktop advertising work together in times of increasing multiscreen usage," says Linda Mozham, Commercial Director and member of the OMS management team. "However, current practice is different: According to the MAC Mobile Report 2014/01, mobile advertising revenue in Germany in 2013 increased by a further 67 percent to a total of EUR 65 million, but this only accounts for 4.9 percent of total online revenue. There is an urgent need to catch up here."
 

Simon Muster studied business administration and marketing in St. Gallen. He is also trained as a software engineer. Before returning to Maxomedia, he worked at the advertising agency Republica and as brand manager at the Swiss branch of Nike Sportswear, among others.
 
Simon Muster started his career in the online world as a programmer in the media house of the Berner Zeitung. To this end, he had the goal of studying at the ETH. However, as he correctly assessed at the time, at the beginning of the new millennium the potential of digital communication was not yet properly recognized by all market participants. Muster therefore decided to "turn it around" and first study business administration and marketing in St.Gallen. "With the ulterior motive that I then want to apply my knowledge in the digital field at the right time." His strategy was "to be double-tracked": to have a technical understanding of the Internet and at the same time understand the mechanisms of marketing. In order to also learn about the practical aspects of the industry, Simon Muster worked at a small Basel-based agency alongside his studies. At Swift Management AG, he designed websites and also managed the first web stores. "My job was to drive traffic." These experiences led him to Maxomedia for the first time in 2010. "At the forefront of online development, I was very happy as a consultant in this pioneering agency. " Then, however, came an offer from Nike that he just couldn't refuse.
 
In summer 2011, Simon Muster joined the Swiss branch of Nike Sportswear as brand manager. Based in Bassersdorf, he was responsible for brand management in Switzerland. Muster was responsible for marketing the lifestyle segment and the market launch of Action Sports. Nike had set out to conquer the snow and skateboard scene in Switzerland. Accordingly, marketing had to act cautiously. "The snobs are a very critical target group. On the one hand, we had to win over the opinion leaders. On the other hand, we also wanted to supply the masses. But the whole scene is not only very brand-savvy, but also brand-critical. It's easy to show opposition when a big brand comes from the U.S." Simon Muster built up a community and organized "Grass Roots" events for the grass roots. For his persuasion work, he was able to rely not only on legendary names with world championship titles. He also had access to "a great media budget with cinema spots and TV campaigns.

The brand manager has "learned a lot" in this responsibility. Also what a strong corporate culture means. "It certainly has a lot of positive aspects when everyone is pulling in the same direction and you know what you have to do." On the other hand, lateral thinkers are at a loss, he says. "In the large-scale operations of an international brand, all ideas are subject to corporate policy."

For a little more than a year, Muster enjoyed this "battle against windmills". With his activities, he was also able to show interesting figures in the area of sales. Nevertheless, he was finally lured back to a task where he could live out a bit more creative freedom. One such oasis was the Republica in Bern. In this "land of inspiration" (self-advertisement), Simon Muster worked as a strategic planner and member of the management team from the fall of 2012. Among his important clients was the Schlittschuh Club Bern. The SCB team had just won another championship title and, following this success, wanted to celebrate a little more "offensively " in the digital world as well.
 
The most successful ice hockey club in Europe in the winter of 2013 "had no problem filling its stadium. 97 percent capacity during the qualifying rounds and 99 percent during the playoffs. "But: In this environment, the sponsorship offer is exhausted at some point," Muster calculated. And when all the boards and places on the helmets are "sold", the only thing left to do is to expand into the net. Simon Muster was in charge of this project. His challenge: "We needed content that worked, and for the community to have the most exclusive access to the team possible." The solution was a digital strategy that delivers channel-specific content. For example, an app for mobile. This picked up fans at away games. Or digital TV with behind-the-scenes footage, in which sponsors could also be included. "Added value for the fans, instead of clumsy advertising".

Tried and tested rope teams

Such tasks and their results made Simon Muster "very happy" at Republica. It was therefore difficult for him when Bernhard Herzig made him another offer to work for Maxomedia. But at the same time, it was also a comeback to the agency that he had been reluctant to leave because of Nike. "Clients and employees were waiting who I still remembered very well." Simon Muster has now been working at Maxomedia since January 2014 as head of consulting and member of the management team. "When I first came here, as Swiss pioneers of online advertising, we were the only agency that wanted to become more classic. We have since succeeded in this, while most classic agencies are still trying to become more digital," says Muster, summarizing the development. For the two-track experienced, this set-up forms the ideal environment in which he can develop further cross-media in the future with full strength and in the truest sense of the word. His goal: "To continue to be smiled at because we're sometimes a little ahead of the times, as we were when Maxomedia was founded.

Andreas Panzeri

WW: In 1996, you founded Maxomedia together with Roman Hirsbrunner. Since then, the two-man garage business has grown into a full-service agency with over 50 people. What was the biggest driver for this success?
Bernhard Herzig: We founded the agency with the conviction that classic and digital communication would unite. This influenced the development of the agency, not only in terms of the creative process, but also in terms of organization and culture. Over the past 17 years, the changes in the media landscape and in society have played into our hands. The team spirit was also important: Roman and I were already good friends back then, complemented each other and still shared a vision.

Bernhard Herzig on his digital past: "The idea has to be good. The fact that it also has to work in the digital world is a requirement of the times, not of me personally."

Was there any significant resistance for Maxomedia in the course of development?
Yes, especially at the beginning. We first had to assert ourselves in the industry. After all, we weren't classic advertisers and didn't have broad agency experience. We also didn't have access to a helpful network of contacts at the beginning. It wasn't always easy to gain the trust of customers in this situation.
 
Why can Maxomedia rightly be called a pioneering Swiss online agency?
For us, as early as 1996, the communications perspective was more important than the technology perspective when dealing with the digital world. It is true that one of our goals was to master communicative challenges by using innovative technologies - but not as an IT company, but as a communications agency.
 
How and where did you acquire your online communication skills?
Most important are the countless experiences, large and small, that I have been able to make in the course of the projects over the years. But external inputs were also an important source, for example studies, seminars, congresses or blogs. Over time, the opportunities to expand one's knowledge increased enormously here. Today, the big challenge is to make a meaningful selection.
 
What do you personally see as your most important professional successes?
From a business perspective, that Maxomedia exists in its current form and that the agency holds its own in the market. For me, professional success is when I see that we continue to develop in our projects - in outstanding peaks, but also in small things, in everyday life. Last year, winning the Lion in Cannes was a personal milestone that we had long dreamed of achieving.
 
When did you realize that Maxomedia could one day become the agency it is today?
In this regard, I remember, among other things, the atmosphere and the conversations with our customers and employees on the occasion of our 10th anniversary chilbi in 2006. This spirit and energy inspired us at that time and helped us to achieve the boost that we experienced in the following years.
 
What has changed since you took over as sole director last October?
The goal of the change in management was not to fundamentally change the agency. And of course it's not the case that I run the agency on my own, but together with the other members of the GL. Nevertheless, not everything has remained completely the same, since the groove and the climate are shaped by the characters in the GL. We have also taken the personnel changes as an opportunity to update our work processes a bit, for example.
 
You were "Head of Digital" in the earlier days. Now your responsibilities as Managing Director have become more comprehensive, at least in title. What has changed for you?
My tasks have effectively changed. As Head of Digital, I was more deeply involved in more projects, and my day-to-day contribution was very operational. Today, that has shifted somewhat: The focus has become more holistic on a day-to-day basis. And of course I represent the agency more often externally. But I am still involved in our projects. And I want to keep it that way.
 

Bastian Sarott is Head of Trade Marketing MTV/VIVA CH/Comedy Central at Goldbach Media and thus an expert in youth marketing. The federally certified marketing specialist studied art history, film studies and business administration at the University of Zurich, as well as CAS Leadership & Management at the HWZ.
 
WW: In what way is Goldbach Media involved in the studies presented at the "Identify Youth" seminar?
Bastian Sarott: The studies were commissioned and carried out by Viacom - after all, they are international studies that require cross-border networking. Goldbach was involved in collecting the Swiss figures and thus contributed the necessary Swissness to the questionnaire for the 308 participants. And last but not least, we are involved as marketers of the stations involved and as organizers of the business seminar mentioned.
 
Is there a finding for you from the studies presented that surprised you personally as a member of the Millennials?
None of the findings really surprised me - but I often felt confirmed in my assumptions. However, I also deal with the subject matter on a daily basis and have been observing trends and characteristics of my generation for a long time. What surprised me most was how clearly the statements in the qualitative interviews differed depending on the country of origin, or rather how easy it seems to be to assign certain statements to a particular country by implication.
 
In Switzerland, 27 percent of the population is already in the Millennial age range. How strongly is this ratio reflected in the TV programs available?
Only to a limited extent, because the average TV viewer is around 51 years old and has corresponding purchasing power. The Millennial TV consumer, on the other hand, is 22 years old on average, has somewhat less time to watch TV, and is usually not quite as affluent as his parents' generation. Consequently, channels are still geared toward older consumers, who make up the broader audience. But there are, of course, channels like MTV, VIVA CH or even JOIZ, which, as special-interest channels, are aimed mainly at this target group. ProSieben also offers formats tailored specifically to Millennials: In "taff" or "Galileo," for example, news and science topics are presented as young as possible: Fast editing, current music and the whole thing presented by young presenters.
 
What specific shows can you tell us about that are aimed at Millennials?
There are a few. For example, "Catfish" from MTV Networks. A format that deals with the phenomenon of fake online profiles - the so-called Catfish phenomenon. It's not just about friendships that have developed online between fictitious and real people, it goes as far as engagements between two people who have never seen each other in real life. In other words, a topic that is as young as the Millennials themselves. In "Catfish," viewers accompany the show's hosts on their search for the catfish and the subsequent reunion of the two cyberfriends - unfortunately, usually with a disappointing result for one of the two parties. Or take "Circus HalliGalli" on ProSieben. Here, the congenial moderation duo Joko and Klaas exclusively do whatever they feel like doing at the time. There is no limit to the absurdity. Conceptless quality television with a guaranteed surprise effect and lots of laughing potential. But series like "South Park" are also very popular with millennials, thanks to their mix of extreme topicality, critical scrutiny, the necessary dose of outrageousness, and high moral standards. The 17th season is currently running on Comedy Central Switzerland. This March, a "South Park" app was launched that allows all episodes to be watched in two-channel sound anytime, anywhere - and in April, just one month later, we were already at over 500,000 streams in Switzerland!
 
How does a broadcaster ensure that its engagement with millennials actually comes across as genuine and not simply gimmicky, like the "youth language" still often misused in advertising?
With the use of so-called "youth language", the sender usually maneuvers himself into the sidelines. On the one hand, a broadcaster must have real millennials in the editorial teams, but it must also deal with topics that are relevant to the young target group. Millennials are very demanding and expose the pretense of youthfulness.
 
Do you know of any successful examples where advertising - in this case, a commercial - skillfully and successfully appeals to the world of Millennials?
There are various great examples: Coke Zero, AXE, and the new Evian spot have the right attributes - imaginative spots with good music that are enriched with a bit of action, encourage laughter, and know how to surprise. Such spots spread like wildfire; the Millennial likes to share what he likes on Facebook or by e-mail - even TV spots.
 
What definitely doesn't work in "advertising to Millennials"?
Poorly implemented product placement is what I see as the biggest no-go these days. Be it in video clips, TV series or feature films: nowhere do we get around product placement. But if it's done too obviously, it backfires. MTV, for example, no longer plays various video clips on the channel because of the artists' too obvious and permanent use of smartphones.
 
How much demand do customers have for booking options for the Millennial target group?
In TV, planning is still based on socio-demographic target groups, and the share of advertising aimed at people under 40 is only around 10 percent. However, this does not include the most important target groups (15-49 years old and household 20-49). Since the Millennial switches between many platforms or consumes them in parallel, advertising via a single medium is not effective. Online and also OTG(on the ground) activities are now essential and increase the involvement of the recipient. Involvement is a key word for the engaged, informed and sharing Millennials. Basically, however, young target groups are less sought after than household executives or executive target groups.
 
What are Goldbach's future plans for the Millennial target group?
Goldbach always adapts its offering to the latest technical developments and thus also keeps its finger on the pulse of the young target group. This means that we address topics such as parallel use, streaming, smart TV and social media across all business lines. We accompany the recipient from the moment they get up until they go to bed: with radio, mobile, digital out of home, online and TV advertising. This gives us diverse touchpoints with all Swiss residents. What is crucial here is the right orchestration of these media. To this end, Goldbach launches new offers every year in order to also reach the young target group with its individual habits.
 
In one presentation, the thesis was put forward: "Sex, drugs and rock 'n' roll" used to be. What could serve as the "substitute drug" for Millennials today?
Today, everyone lives their lives - there are too many styles of music, more caution and knowledge about sex, and an even wider range of drugs. Tolerance towards these three buzzwords has increased massively in the last 50 years. What was scandalous then seems completely banal today. If I had to come up with a new thesis, it would probably be, "Live YOUR life." That may sound a bit self-censored - it possibly is, but it merely broadens the spectrum and puts the Millennials' urge for self-actualization and more extensive possibilities in the center.
 
In another presentation, the thesis was presented that abroad, young people are more concerned with existential worries, while in Switzerland we are allowed to worry more about our self-realization. Do you share this view?
I agree with that. But this is also due to the countries in which this study was conducted - a 17-year-old girl from Mexico or Tokyo does not have the same expectations, desires and fears as a young Swiss woman due to the environment and economic conditions.
 
In my youth as a "boomer," advertising was frowned upon in many progressive circles. Working in advertising was considered almost like a betrayal for Phil. I and art students. How do you experience it today as a member of the Millennials?
Yes, I am a Millennial. Yes, I am a marketer. BUT I was also a Phil. I student - with art history, among other things. And I get the point, of course. But many of the Boomers felt they had to do it differently, which doesn't mean not doing it. That is, progressive people are generally open to advertising - but good and properly placed advertising. They know exactly what they want, which makes them more critical and selective. And they love the creative approach of this industry, which, incidentally, also inspired artists like Salvador Dalí to create product advertising (Chupa Chups). And here, in dealing with artistic creation, the circle from the Boomer to the Millennial perhaps closes, even if the preconditions are very different and today, thanks to Web 2.0 and the abundance of recording and duplication utensils, everyone can let off steam creatively and share creativity with the environment.
 
Interview: Andreas Panzeri 

With its BTL Control software, Media Glue offers its customers an online tool with an associated mobile app for the planning, control and reporting of below-the-line / out-of-home marketing campaigns. Version 1.0 of BTL Control has already been developed and is being used for the first campaigns, the company announced in a press release on Wednesday. Using GPS tracking, Google Maps and location planning, every action is monitored and reported in real time. The advertising companies thus know exactly when and where which measure took place, whether it was carried out in accordance with the offer, times were adhered to, regions/locations were covered as agreed and the campaign objectives were achieved.

"The idea came about for completely selfish reasons," says Managing Director Darko Veljaca. "I wanted to offer my customers an efficient and simple way of providing evidence for my services in the BTL sector. As I couldn't find a tool that met my needs, my team and I developed it ourselves without further ado."

Gold went twice to Havas in Poster Illustration for "Fantastic Orchestra" (Zurich Chamber Orchestra) and in Copywriting for "Word Split" (SMH Verlag) as well as to Serviceplan in the Digital/Interactive category for "Soundtree" (BMW). Finalist awards went to Webguerillas in Online Campaign for "KPT Smileball", Iart for Mega Faces in Spatial Communication and for the "Fantastic Orchestra" in Print Entertainment. Two more gold medals with Swiss relevance were awarded to the German agency Heimat for their work for Swisscom "All eyes on S4" in Event and Ambient Media.

No silver and bronze awards are given in Montreux, only gold and finalist awards. The ratings are taken into account in various international rankings. Jury members from 18 countries judged works in the seven main categories TV/Cinema, Print, Poster, Direct Marketing, Digital, Media and Event.

The Golden Award has been presented in Montreux since 1989 and traditionally opens the round of international creative competitions in Europe. In the past, it has repeatedly proven to be a reliable barometer for subsequent festivals.

All winners and info on Goldenaward.com

 

Customers are informed about the necessary steps and the advantages of the basic digital offer with the help of a likeable mascot made from a TV cable. WS Kommunikation designed and realized the entire information campaign for EBL Telecom, which included posters (F12, F200), displays, brochures and customer letters, each in two languages.

Responsible at EBL Telecom: Eleonora Meyer (Head of Marketing), Andrea Voegtle, Fabrice Reymond (Marketing and Communication). Responsible at WS Communication: Reto Meyer (overall responsibility), Nadine Wolleb (consulting), Markus Stöckli (art direction, text), Joe Werner, Marion Philipp (graphics).