In total, over 40'000 flower stores in more than 140 countries belong to the "flower broker", which delivers within 24 hours. With an apt campaign idea, Ogilvy One was able to prevail in the pitch against two competitors. The agency convinced with an attention-grabbing key visual: A series of split-screen images shows how two people in different countries can be connected by a Fleurop Interflora bouquet.

The international spring campaign includes a colorful bouquet of off- and online measures: including posters, flyers, an animated Short video, Bannerperformance, mobile and Facebook ads and web teasers. Neo@Ogilvy developed matching keywords and ad copies that can be used to support the campaigns. The campaign rollout will start in April in 21 markets worldwide. Participating countries can download the manual and the English templates for all advertising materials in two color versions via a shared platform and adapt them quickly and easily for their market.

Responsible at Fleurop-Interflora: Fleurop-Interflora Global Flower Services: Beat Bärlocher and Ana Leal. International Marketing Committee: Jörg Beer, CH; Michael Barringer, UK; Jeroen de Zwart, NL. Responsible at Ogilvy One: Barbara Dürst and Björn Schneider (overall responsibility); Sandra Pellny (consulting); Benjamin Franken (creative direction); Christoph Perner, Karl Badde (art direction); Karen Müller, Nadine Blaser (DTP/image editing); consulting: Sandra Pellny; Simone Paulzen, Annemarie Auer (text); Stephanie Klester (SEA); Matthias Studer (photographer).

 

Digital out of home remains on course for growth in 2014 and recorded a noticeable increase of 31 index points to 733 (702) in March. Advertising pressure on TV also remains solid, with an increase of one index point to 641 (640) compared to the previous month of February. In comparison, the radio and internet media are currently performing less strongly: radio lost a further four index points at 415 (423) and the internet even lost eight index points at 725 (733). Teletext also remains in slight decline, losing one index point 57 (58). By contrast, electronic media as a whole remained stable at 641 index points, as did the overall market at 235 index points.

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Two new TV commercials, image pictures, a revised website and high-quality sales documents - all with a black and white look - were created as part of the campaign. Rosarot and its managing directors, who are also the founders of AD.M, are once again responsible for the overall concept of their own label's advertising campaign, thus assuming both the agency and client roles.

AD.M has been dedicated to creating the perfect polo since it was founded in 2010. To further consolidate the brand, the Zurich agency created and implemented a comprehensive campaign for the launch of the 2014 collection. All communication materials are in black and white and are intended to present the collection in a discreet and elegant way. With the unusual black and white appearance and the polarizing models, AD.M wants to demonstrate the courage to differentiate itself and consciously set itself apart from other fashion labels. This is intended to further sharpen the brand's clearly independent profile.

Together with renowned photographer and director Patricia von Ah (Pumpkin Film), rosarot has created a TV commercial for both the Classic and Vintage collections. While the spot "The Date" for the Classic collection focuses on the modern businessman, the second spot "The Game" shows a collegial scene in the form of a chess duel. In both cases, the central message of the brand is conveyed: with the Work Life Polo, the modern man is equipped for any challenge - whether at work or at home. Together with Patricia von Ah, the agency was also responsible for the production of the campaign images and was in charge of the redesign and content of the website.
 

The main sponsor and task provider was Suva. The competition was looking for communication ideas to protect apprentices from the risk of accidents at work. Chris Sapiain Wetter and Raymi Mendoza, the winners of the film category, started the competition. We talked to them about successful provocations and crossing borders in advertising.

 

WW: Your film is about Hassan, who can no longer operate his game console properly or get his girlfriend's bra off because of an unsavory, amputated finger. The film ends with the request "better luegsch". Do you make fun of foreigners and disabled people?

Chris: In a way, we make fun of ourselves. We communicate emotionally and uncensored, so that young people can relate to the subject matter. They see themselves in Hassan, precisely because of this humor. We analyzed the target group in advance and asked our colleagues from the construction industry. One of them is called Hassan - in gratitude for giving us an insight into his world, we gave the protagonist his name. This humor doesn't work for everyone, but it goes down very well with the campaign's target audience. Hassan thinks the film is funny.
Raymi: We don't want to act like parents who say, you shouldn't do this and that, or pay attention. That goes in one ear and out the other.
Chris: Exactly. The message of our film is: You have to know it yourself, but "luegsch better".
 

WW: But aren't you making fun of a serious subject?

Raymi: I think not. You do think about it in hindsight that an accident at work would not be funny. The serious message remains recognizable. We show using everyday situations like smoking, drinking or gaming: It could be really troublesome to have to do all these things without fingers.
Chris: Young people our age are pretty numb to stark facts. It's not so easy to shock us. That's why we didn't show any warning accident pictures, but thought about the consequences in a funny way.
 

WW: Do you think that advertising in general is too well-behaved?

Raymi: We find commercials in Switzerland mostly boring and unambitious. Insurance commercials in particular often repeat the same loveless story. It explains how safe you are with a provider and that you have nothing to worry about. Many companies don't like to go out on a limb and prefer to continue what has worked so far.
Chris: It also has a lot to do with culture. We both come from South America. There, people like to watch advertising. It's more daring, and that's why it entertains. People sit in front of the TV with their families and discuss it. Messages like that then also get through.
 

WW: Where do you see the boundaries that a provocative commercial must adhere to, what would definitely go too far for you?

Chris: Racism. We find the SVP posters tasteless. You can play with clichés, but then you should make fun of everyone. I think a humorous perspective is okay, but not against a certain group. Our film walks the tightrope, because what happened to Hassan could happen to any young person.
Raymi: But maybe we find it simple because we can't identify with the SVP message. If you share their attitude, you probably also find the provocation successful.
Chris: That's the problem. If you want to appeal to everyone, it becomes gray. That's why our film has its own opinion and attitude - direct, unadulterated and funny.

Interview and photo: Simone Isliker

 

 

Alexandre Lanz , 41, joined Edelweiss four months ago as a journalist , head of the fashion and music sections. Before that, he was Editor-in-Chief of the women's magazine Profil and in charge of the service pages at the daily newspaper Le Matin. Lanz will take up his new post on May 1, 2014. Laurence Desbordes will still accompany the introduction of Edelweiss' new layout, which will be launched on May 21. The new design was created by Paris-based graphic design studio Funny Bones. Edelweiss is the leading monthly women's magazine in French-speaking Switzerland, according to a statement. It has a current readership of 63'000 (Mach Basic 2014-1) and celebrated its 15th anniversary in 2013.

He will also be given a management position at the largest shareholder, the French company JCDecaux. Its boss Jean-François Decaux is stepping down as Chairman of the APG Board of Directors. At JCDecaux, the world's largest outdoor advertising company, Hofer will in future be responsible for the market region Germany, Austria, Central and Eastern Europe and Central Asia with 14 national companies, as APG announced on Tuesday evening. Hofer has been CEO of APG for almost four years. He took over the position after the company's failed international expansion in 2010. Jean-François Decaux has been Chairman of the Board of Directors for just as long. In future, Laurence Debroux will represent the interests of JCDecaux on the APG Board of Directors. She has been Head of Finance at the French group since 2011.

The Board of Directors has appointed Markus Ehrle as Daniel Hofer's successor. He has been Head of Marketing and Business Development at APG since 2011. Ehrle is expected to take up the position on June 1. This is subject to the shareholders electing Daniel Hofer as Chairman of the Board of Directors at the Annual General Meeting on May 21. (SDA)

The problem is not actually the parents. The problem is that young people no longer want to watch television in the traditional sense. Okay, that's not really a "problem". At most for the most passive of all media, because it will lose a lot of relevance and reach in the coming years and decades. However, it is not really a blessing either, because young people are not playing in the woods or reading books as an alternative. They stream what they want to watch: TV series, music or YouTube channels whose creators they click behind their parents' backs to become superstars.

The American TV provider and cable television pioneer HBO knows how and where to pick up the coveted young target groups. HBO subscribers can use the "HBO Go" service. This allows them to enjoy a wide range of video on demand on all kinds of devices - from game consoles to mobile devices and smart TVs. For example, you can watch "Game of Thrones" whenever and as often as you like.

Traditional TV evenings with mom and dad have a tough time of it. Not only do you have to watch what's on... the whole thing is often accompanied by in-depth conversations, which adolescents at a difficult age are particularly reluctant to have. Of course, it doesn't have to be that way. But at least in advertising, the topic is ideal for producing funny commercials - as the agency SS+K proves. (hae)

Immediate, dynamic, intense, spontaneous, uninfluenced, simple, reduced, dripping or blotting are attributes that can be attributed to the art movement Action Painting. If you add appetite, pleasure and taste, suddenly you are sitting at the table at McDonald's and experiencing Action Eating. Because at McDonald's, you are allowed to eat with your hands. Hamburgers, nuggets and fries are enjoyed with ketchup and other sauces. There is gesticulating, spilling, living - ultimately an expression of a contemporary, active, sensual experience. To be seen at poster sites with dwell times, according to a press release. As always, the beauty of the work lies in the eye of the beholder.

Responsible at McDonald's Switzerland: Thomas Truttmann (Marketing & Communications Director Switzerland & Head Sports Europe). Responsible at TBWA\Zurich: Thomas Ammann, Marietta Albinus (Creative Direction), Werner Schellenberg (Art Direction), Ilenia Peluso (Consulting), Kyle Dreier, Roland Kniel (Photography).
 

Ombudsman Achille Casanova could not confirm whether there was an orchestrated campaign behind the large number of complaints. However, the large number of complaints would indicate that this could be the case. According to Casanova, the majority of the complaints were directed against the "Rundschau" report. Viewers criticized that the report was one-sidedly against the Gripen, the moderation of the programme was poor and aggressive, false comparisons were made and the wrong experts were invited. Around ten complaints criticized Maurer's behaviour. Tristan Brenn, Editor-in-Chief of SRF TV, clearly rejected the accusation of one-sided reporting. "The report and the interview should always be seen as a unit, that is part of the journalistic concept of the Rundschau", he told the SDA news agency on Friday. "In a nine-minute interview, Federal Councillor Ueli Maurer was able to refute the criticism of the Gripen expressed in the report."

Comparison Switzerland-Austria

The political magazine program on Swiss German television compared the Swiss fleet with that of Austria, the Czech Republic and Hungary, as all three countries are comparable in size to Switzerland. Austria's fleet consists of 15 Eurofighters, while the Czech Republic and Hungary each have 14 leased Gripen aircraft. The focus of the report was on Austria. A test pilot from the Swiss Air Force, the head of the Austrian Air Force and a German "armaments expert" had their say in the report. The latter criticized the Gripen procurement as too expensive and unnecessary.

"Weak performance"

Afterwards, "Rundschau" broadcast an interview with Defense Minister Ueli Maurer, in which he dismissed the report as one-sided, tendentious and a poor piece of journalism. "I find it relatively tendentious for a television station that lives off public money," said Maurer. The program had only used countries with fewer fighter jets for comparison, but not countries such as Belgium or the Netherlands, which have far more aircraft. In response to this accusation, the "Rundschau" explained that the focus had been placed on Austria because it is a neighboring country, it is also not a member of the NATO military alliance and security experts would also compare Switzerland and Austria.

One month before the vote

In one month's time, on May 18, the electorate will decide indirectly on the purchase of 22 Gripen fighter jets from the Swedish manufacturer Saab. The financing of the purchase will be put to the vote with the Gripen Fund Act. The ombudsman's office of the Swiss Broadcasting Corporation (SRG) will inform the parties involved of its conclusions and recommendations within 40 days of receiving the complaints. However, Ombudsman Casanova has no authority to make decisions or issue instructions. (SDA)

Ivo Sonderegger studied physics at ETH Zurich, specializing in atmospheric physics. After working for several years as a meteorologist for various Swiss private radio stations and newspapers, he has now been working as a forecaster for "SRF Meteo" since March 3, 2014.

Joël Romingers studied meteorology at the University of Basel. He gained practical experience with the de-icing specialists at Zurich Airport and as a forecasting assistant at Meteotest in Bern. On April 1, 2014, he had his first day of work at "SRF Meteo".