Culture, creative industries and communication: these are the three big Cs in Rea Eggli's world. She is currently making headlines with her crowdfunding platform Wemakeit.ch. Rea Eggli and her business partners Johannes Gees and Jürg Lehni have already generated 1.4 million francs via the first Swiss financing platform. And Wemakeit has only been online for a year.

For more than ten years now, Rea Eggli has been running a communications agency in parallel to her involvement in various areas of culture. This was once known throughout Switzerland as Swissandfamous. Today, Rea and Chris Eggli no longer want to hide behind the provocative fantasy label. "The name amused us when we founded it in 2000. Today we have a certain age and therefore experience. Now we also want our own names to stand for what we offer on the market." That's why eggli.eggli has been around since September 2010. Through this agency, Rea and Chris Eggli serve clients from business, creative industries and culture in the areas of communication, design and project management.

Rea Eggli has developed her skills over the course of a very colorful professional life with ever-changing twists and turns. At the age of 15, she already spent a year in Texas getting a taste of international air in the import and export department of her father's twin brother's company. "In the U.S., as a teenager from the Bernese Oberland, I learned how you also have to assert yourself in a completely foreign environment in order to stand on your own two feet."

Before her lateral entry into the world of media, she later gained her basic knowledge at hotel business school and then worked briefly in the hospitality industry. It was during these young years that Rea and Chris met; this twenty-plus year relationship resulted in a now 4-year-old boy.

The former art director at Contexta in Berne was already very involved in other cultural circles in addition to his job in advertising. "It was through this relationship that I discovered the world of art and culture," says Rea Eggli, looking back on the course she set. Enamored of this, she treated herself to a summer course on literature and cultural history at the Sorbonne in Paris. Back in Bern, she looked for a temporary job and ended up in India.

At Swiss Telecom at the time, there was a vacancy in the international team working for an Indian joint venture, among other things. When this became concrete, Rea Eggli was given the opportunity to accompany the CEO of this foreign venture to New Delhi as an assistant for two years. She didn't think twice and signed the expatriate contract.

Experience in India

"It was a very exciting and instructive time. I had to organize meetings for the Board of Directors and look after a wide variety of VIPs. "Around this India adventure of Swiss Telecom, the trained gastro specialist was also able to further professionalize her talent as an organizer at numerous marketing events. Rea Eggli eventually took on more and more tasks in the field of marketing and communication. "Learning by doing." She has also learned to keep her nerves even in very turbulent phases. "India is not all that easy. With a Swiss mentality and company behind us, we often had to exercise patience. That still helps me today. It takes a lot for me to get stressed or lose my nerve." During this time, Chris Eggli initially remained with Contexta in Bern, but later resigned and followed Rea to India. During this sabbatical, he dealt exclusively with art and organized various exhibitions in Asia. Back in Bern, Rea Eggli continued to work for the International Department of Swiss Telecom in 1997 - now in PR and Communications.

At the leading national telecommunications provider, the Internet had meanwhile become the upcoming topic. Eggli was sent to Stuttgart and then to Vienna for four months each, where she worked on an intranet concept but also got her first taste of the press. Because the live communications sector "interested her more and more," Rea Eggli wanted to get to know the industry from the other side. She got herself a job with the MCI Group. In 2000, Rea Eggli was able to build up the event department and implement marketing events for the newly opened Zurich branch of this worldwide network with over 700 employees.
 
In all these jobs, there were always various points of contact with art. Rea Eggli realized that, as an organizer in this sector, she could bring some of her experience to bear for the benefit of artists. In 2001, she therefore quit her job and signed up for the first cultural management course at Sawi. "This continuing education was still in its infancy at the time, but since I was starting my own business at the same time, I was able to benefit greatly from it."

Cultural Management

As a "case" for her diploma thesis, she founded and built up the agency Swissandfamous with her Chris parallel to school. "That was still a pretty spontaneous project. We didn't have a real business plan. But quite a lot of ideas." The first implementations were readings and planning literary tours. "That was at a time when no one was talking about readings." Swissandfamous soon organized tours for Reeto von Gunten or Benjamin von Stuckrad Barre, produced theater plays with Beat Schlatter and Patrick Frey, set up, together with Danielle Stutz, the first photography fair "Showcase International ", which soon found international imitators and conceived the "Märli am See", which still exists today, after eleven years, as a series of events.
 
Today, Swissandfamous "only" continues as a small publishing house. This recently published an album of ten audio books with works by Christian Kracht. The exclusive productions, which were produced in Switzerland, Holland and Germany, were read by three musicians: Dieter Meier, Schorsch Kamerun and Dirk von Lowtzow.
 
With the communication office eggli.eggli, Rea and Chris wanted to focus the activity a bit and say goodbye to cabaret. "It was time for something new." The customer base includes the NZZ Folio with regular customer mailings, the Viadukt with the Viadukt Night, the Swiss National Museum with the design of communication materials for exhibitions, or sometimes an advertising agency for which eggli.eggli takes on a below-the-line production. eggli.eggli is also responsible for the media work of the "Stadtbad" hamam, which opened a year ago in Zurich's Volkshaus, or of Arctic Paper Switzerland. Chris Eggli is responsible for design and art direction. Rea is responsible for management and consulting. Together they are partners in the book and furniture store "Westflügel" in the Viadukt in Zurich, where the entire INCH-Furniture collection is sold alongside antiquarian photo and art books.

Crowdfunding

Rea Eggli has founded the crowdfunding platform www.wemakeit.ch as her free space to compensate. The first platform of this kind in Switzerland was created on the initiative of the artist Johannes Gees. As a third partner in addition to Rea Eggli, is the designer and artist Jürg Lehni . One year ago, on February 5, 2012, Wemakeit went online. In the meantime, Switzerland's first crowdfunding platform is heading for the 2-million mark this year. New cultural funds that make creative projects possible.
 
The largest amount so far has been over 34,000 francs for a publication about the discontinuation of the Zurich club Abart. The former operators put the project online to test whether there was any interest at all in such a book. The interest was confirmed. Does the public want this exhibition, this film or this music album? "Besides funding, clarifying a need is a very important aspect of crowdfunding," says Rea Eggli. In this context, pre-funding can also be interpreted as pre-selling and thus market testing. "In addition, you can wonderfully integrate your audience, your fans or buyers and thus achieve customer loyalty. Instead of buying a ticket at the theater box office or downloading an album, such micro-producers pre-finance the final result. They are involved during the entire project phase and, as the saying goes: anticipation is the best joy, they feverishly support the final product as ambassadors. There is no better PR than that!"
 
In return, in addition to the emotional values, there are, for example, invitations to a meal with the artists, limited artworks, exclusive previews, private garden concerts, naming in the credits or sometimes a say in the project. Crowdfunding also functions as a trend barometer. "I can see in advance what's going to hit the market in a year. You are informed before something happens," Rea Eggli knows. You can discover these upcoming projects by surfing the platform without obligation. There are currently around 50 ideas posted on Wemakeit. The projects come from the fields of culture, design, architecture or community. The Wemakeit editorial team checks in advance "whether the work is professional and the budget is in a healthy relationship. Rea Eggli does not see any danger that the increasingly rapid growth of the platform could dilute the funding into a "watering can principle" that is no longer very effective. "An international analysis shows that the opposite is the case." At the American pioneer Kickstarter, several thousand projects are online at the same time and this platform generated over 400 million dollars last year. "So in Switzerland, we are only at the beginning of crowdfunding."
 
Andreas Panzeri

The core of the campaign remains the reference to the extensive collection of recipes on Kartoffel.ch. This year, it is being advertised with five subjects. All good reasons for the main target group (25- to 40-year-old family mothers and fathers) to buy Swiss potatoes instead of pasta and rice, the agency said in a statement on Thursday.

The new motifs dispense with bowl carvings as on the previous posters and rely solely on the interplay of headline and product. In addition, there is a new typography, which was developed from real potato stamps and is intended to support the independent character of the campaign. Anyone who scans the F12 posters on their smartphone using the Kooaba app is taken directly to the relevant recipe on the Kartoffel.ch mobile website.

The new subjects can be seen throughout the year on F12 and F200 posters all over Switzerland. They will be supplemented by banner ads in late summer. Soon, a Swisspatat truck will also be on the road in the current campaign design.

Responsible at the branch organization of Swiss potato producers Swisspatat: Christine Heller (Management). Responsible at the New LGK: André Benker, Hans Tanner (Creative Direction), Andreas Szentkuti (Text), Kerstin Berk (Art Direction), Nadia Jost, Nina Ochsenbein (Graphics), Silvano Spezia, Claudia Shatri (Consulting), Jonas Spengler (Photography & Image Editing), Arillo (Type Design).

 

"Spotted communities" have spilled over from Glasgow to Germany and are also finding their way into Switzerland. FB fan pages, which are intended to facilitate contact if someone has been seen in the lecture hall, the canteen or on campus but not approached. Students in Germany in particular are very active in spotted communities. The pioneer is the community of the Munich City Library, which already has 15,000 members on Facebook after just one month. A message can be sent to the administrators of the Facebook page, which is then posted anonymously on the page. In the best case scenario, there are entries such as "Computer science student with orange hair and a pink vest, who are you? Would like to get to know you. " can be read.

Who is behind the operators of the site is just as anonymous as the messages. Only the founders of Bibflirt.de reveal themselves on some spotted communities. They also revealed in an interview how time-consuming it is to monitor the messages. This statement is surprising in that many of the messages posted do not appear to have been selected manually.

Only a few messages have a genuine interest in seeing someone again. Many are pure entertainment, clumsily or even raunchily worded. Sometimes you come across a creative poem, but a look across all spotted communities shows a picture of cheap chat-up lines. For many, writing or commenting on messages seems to be entertaining. In Switzerland, the University of St. Gallen is the pioneer with around 2000 members. The picture of the news in this country also looks similar to that of our neighbors.

It seems that spotted communities are an entertaining way to pass the time. People are on Facebook anyway, and if they need a short breather in the library, they take a look at the site. Only a few people seem to take it seriously. So it is questionable how many people really meet up again thanks to Facebook pages.

The whole thing would probably be different if the messages were not anonymized. Surely fewer would post then, for the simple reason that they fear ridicule and malice from their fellow students. But I would like to plead for more courage here. Inviting someone for a coffee at university or finding out who the person is through fellow students can't be that difficult, especially in today's networked world. It takes a lot more effort elsewhere. In a crowded streetcar, you hardly ever ask the person sitting next to you if they would like to have a coffee together. Zurich's public transport company has been helping here for some time now with its "Gesehen@ VBZ" portal. The messages seem much more serious than those in the spotted communities on Facebook.

I think: share the love & a coffee.
 

Stop neglecting the content of your website, Facebook page or blog. You should do everything you can to ensure that visitors find attractive content that is tailored to their needs. To ensure this, you should analyze your content with the following questions:
 
- With what intention do stakeholders visit your website, Facebook page or blog?
- Does the content meet their expectations?
- Does the content cover the entire decision-making process of the stakeholder - from the emergence of the need to the consideration of a solution to the decision in favor of a provider?
- Are the benefits of your offer highlighted in such a way that they have a positive influence on the visitor's decision-making process?

The analysis of the target/actual content reveals weaknesses. This forms the guideline for the development of content elements that are tailored to the stakeholders.

Current content is relevant

Maintain content, as up-to-date information strengthens a brand's credibility with stakeholders. Maintaining content has another positive effect: it increases the relevance of a website for search engines, which in turn helps to achieve top positions in search results.

Attractive content increases attention

Visitors to your website or Facebook page are willing to share attractive content. Shared content generates backlinks, which in turn attract new visitors to your website or Facebook profile.

Branded content supports the brand image

Produce branded content that entertains or informs stakeholders without them perceiving it as advertising. Branded content profiles your brand as an entertainer or a source of expertise through the content. Checklists and especially infographics are suitable for this.

Non-branded keywords lead to new customers

A good ranking in the search results under the brand name only appeals to consumers who already know your brand. If your offer appears in the search results under non-branded keywords, i.e. keywords that do not contain your brand name, these will appeal to potential customers. Think about how a potential customer searches for your offer without knowing your brand and check whether your offer appears in the search results under the relevant keywords.

Thinking integrally in search engine marketing

The visibility of your offer in the organic search results is limited. That's why you should use AdWords. This allows you to target potential customers at every stage of their evaluation and purchasing process with appropriate offers. If you use integral search engine marketing - search engine optimization & AdWords - correctly, your offer can be found in the search results wherever potential customers are. Use these success factors in your online marketing strategy and you will benefit from quick wins and also set yourself apart from the competition.
 
 Imre Sinka

It's bad at first. I always try to stay calm and block out the pain. After a minute, it slowly gets better. And then comes the moment when I know: I have to get out now, otherwise I won't be able to move properly all day." 

This is not how Peter Brönnimann describes his work at Aemtlerstrasse, but his weekly swim in Lake Zurich. Whether it's a bright Saturday morning in June, a rainy autumn day or a snowy winter weekend: Brönnimann ventures into the water. Without a protective suit, even if the lake is just a few degrees. Only on his hands does he wear neoprene gloves in winter, so that his hands are immediately functional again after swimming.

In winter, it's already very hard and not really casual, admits Brönnimann. "Many people think you get used to it. I doubt that. It seems extremely cold to me every time. It becomes casual in March or April, when it gets a little warmer, 9 degrees and above. Funnily enough, that's when you feel relatively comfortable."

Why does Brönnimann nevertheless perform the ritual all year round? Does the creative artist like to test his physical limits? Does he chase from one spectacle to the next? Not at all, says the ECD. He pauses and considers before answering, "It's a special nature experience, totally calm and pricelessly beautiful, very simple and yet spectacular - and always different: one time the sun is shining, the lake is smooth, the next time there are huge waves, it's raining, it's windy. Other times it's snowing."

Brönnimann has a lot to gain from the everyday, the simple. For him, the morning train ride to Zurich, which others dismiss as an annoying commute, is one of the best parts of the day. "It doesn't feel like riding the train at all. It's more like sitting in an armchair reading the newspaper." The creative likes having people around him and listening to the conversations. If an exciting scene is taking place next to him, he plugs in his headphones - as camouflage - and leans back. On the train, he has already heard the most absurd dialogs. He has witnessed a relationship being ended on the phone, a personnel manager conducting a job interview, or two punks talking about the proper use of dishwashers. Scenes, if you saw them in a movie, you would think the plot was contrived or sought after. "Rail travel is often cinema live," ECD says.

When it comes to his own life, Brönnimann is more reserved with words of enthusiasm. Here, the creative director and co-founder of Spillmann Felser Leo Burnett (SFLB) seems to apply a different standard. If you ask him what his everyday life is like, he says he has a frighteningly unspectacular life - and that's just fine.

But Brönnimann also talks about Brad Pitt leading an unspectacular existence. "Sometimes I almost feel a little sorry for him," he says. "I think he has a boring life - at least when he's filming." Just as Brönnimann thinks the glorification of acting is wrong, he thinks the advertising world, which likes to be associated with glamour, is anything but glamorous. Filming, for example, rather reminds him of the military. "Getting up early, standing around a lot and waiting."

Immersion in different worlds

What Brönnimann particularly appreciates about his work is the variety. Apart from a few fixed points - getting up at half past six, having breakfast with the family and taking the S-Bahn to Zurich - no two days are the same. Sometimes he's on the road and immerses himself in another world during a shoot. For example, with weather forecaster Martin Horat. On another day, he first discusses a campaign with a CEO of a corporation and then assesses work with his team in the afternoon. At other times, Brönnimann takes time to be creative himself. Then he's working on a concept with Johannes Raggio, with whom he's been sharing the creative reins for the past few months, or sitting alone in front of a white sheet of paper.

When Brönnimann talks about how his career as a copywriter went, he stacks his hands deep: he didn't study enough at grammar school, only just managed to pass his A-levels and ended up studying "nothing proper" (journalism). He then made a program on local radio that nobody wanted to listen to, later wrote bad copy for the Berner Zeitung newspaper and was finally hired by Martin Suter. "It's still a mystery to me today why Suter took me on back then. I had nothing really good to show for it."

However, Brönnimann really gets into raptures when it comes to SFLB's advertising output. The creative work brings the agency top positions in the rankings every year. However, it is at least as important to the creative that the advertising appeals to the target audience. "I believe that popular advertising is what sets SFLB apart. Work that most people like to look at a second time. Or a third time ..." For example, the simple but ingenious turnaround sentences for Swiss Life. Or the ongoing campaign for Switzerland Tourism, in which the protagonists are committed to the well-being of tourists with Swiss thoroughness, yet with a lot of charm and a pinch of humor. In the current winter film, Sebi and Paul are currently busy clearing away all the clocks so that guests can relax and enjoy their vacation. The cuckoo clock is nailed shut, the hands of the church clock are collected and a crowing ban is placed in front of the rooster's beak.

Brönnimann sees advertising Switzerland as a very special obligation. "You are, so to speak, the advertising foreign minister, and you polish Switzerland's image with your work." But Brönnimann would also make a good ambassador himself. "I love spending vacations in Switzerland." Snowshoeing or skiing in winter, damming streams in summer. There couldn't be a better vacation. After all, he says, taking the train to the Alps is more comfortable than being crammed between two rows of seats on an airplane to visit the in-laws in Australia. Even more so with a height of 1.94 meters.

But the creative would rather let his work speak for itself than stand up as an advertising medium himself. He also finds it very pleasant that the customers and not the advertisers are at the center of advertising. "If an advertising spot - like a newspaper article - began with who was responsible for it, that would be totally comical," says Brönnimann. "So we advertisers are relatively modest."

For once, Brönnimann is nevertheless in the spotlight this year as Advertiser of the Year. What does the title mean to him? "I'm proud and very flattered. It is an honor for my work," says the ECD and adds immediately, "but first and foremost the title is a great honor for all those who work at SFLB and are committed. It's called Advertiser of the Year, to be sure. But everyone in the industry knows that it takes good people to do good work in all places."

At SFLB, Brönnimann appreciates the mix of down-to-earth and international flair at the Leo Burnett agency. "And we're lucky enough to work for great Swiss brands and for clients who believe in the power of good ideas." After all, having the best ideas is of no use if they are not recognized on the client side. "We can consider ourselves very lucky in this respect."

Brönnimann is not at all worried that he will run out of ideas. "Many people have the feeling that creative people have fewer ideas as they get older. I don't believe that." You do become more efficient with time. "My experience is that you know more quickly whether you should pursue an idea when it runs through your brain." There is also a pinch of composure that Brönnimann did not yet know as a junior advertiser. When he used to see an interesting scene in the movies, he would immediately study whether he could use it for an advertisement. Today, he has moments when he leaves advertising far behind. "I've found that I can create best when I'm creating".

Isabel Imper
 

Why was it so nice to be a child? Summers were endless, because clocks and agendas didn't matter. It didn't matter if the boots were full of water or the gloves were soaked and stuck to the hands. Soaking wet feet. Frozen fingers. Red nose. And cheeks glowing with eagerness. Just being a kid.

But that was not all that was good. The glory of my childhood also included ten little negroes, a negro king, lemon heads, upper and lower bonzes, Punch and Judy, a coal-black Moor and the fidgety Philip - all of whom I loved dearly. Today, these dear people should no longer exist: Because you don't say Neger, that's racist, Zitronenköpfe even more racist, Ober- und Unterbonzen these same gentlemen no longer want to be called (especially not Unter-), whoever is a Kasperl is a Seppel, i.e. a moron, and you don't say that either, Mohr - oh, no comment, and Zappel-Philipps have degenerated into patients with an ADHD diagnosis in the 21st century. Unfortunately, people don't lick moor heads anymore, but chocolate kisses - which you can already hear their stickiness. Inedible.

Spontaneous speech nausea

Now the Stuttgart-based Thienemann Verlag is also making language lovers lose their appetite. The publisher holds the rights to Otfried Preussler's classic children's book "The Little Witch" and gets cold feet because of Negroes in the snow. The sentence "How did the two little negroes end up on the snowy village street?" is in Preussler's work. Yikes! 56 years ago, Preussler had children dress up as Negroes, as well as Turks and Chinese. Fifty-six years is enough, says Klaus Willberg of Thienemann Verlag. Because you don't say Negro, Turk and Chinese woman. Other characters are to play on Preussler's village street. For example, Indians, Gypsies or Eskimos? Wait, of course American Natives, Travellers and Inuit. Sounds stupid? Wouldn't it be better to have Africans or blacks standing in the snow? Sounds stupid, too. And is no less black and white. Negroes are not so bad after all.

Calamity seldom comes alone

Michael Ende's "Jim Knopf" is also published by Thienemann. So it's only a matter of time before Ende's heirs have to rack their brains over what they might be called in the future, my beloved upper and lower bonzes, the Negro boy Jim Knopf and the "gäggeligelen Zitronechöpf," as it's delightfully called in the dialect version from 1970. But can you imagine the story from Lummerland full of CEO and CFO, full of Asians with yellowish skin and a protagonist of African descent? Oh boy! Even Heinrich Hoffmann, daddy of Struwwelpeter, can be blissfully unaware of this language theater. "Es ging spazieren vor dem Tor/ein kohlpechrabenschwarzer Mohr." Now rhyme that with "black man." Do you notice anything?

The big misunderstanding

But the sword of the guardians of the holy anti-racism grail does not only strike the elderly. Even Axel Hacke, who published "Der weisse Neger Wumbaba" in 2004, is denounced as a racist. Especially by people who have not read his book. Because there it is not about an African who would be insulted as a Negro, but about misunderstood song lyrics. The title alludes to Claudius' evening song "Der Mond ist aufgegangen" ("The moon has risen"). The last line of the first stanza "the white mist wonderful" was just misunderstood as "the white negro Wumbaba". Which is actually pretty funny. But what I don't know makes me black. And angry. Seen through the eyes of a marketer, the Negro dispute also has one good thing: "As long as I say Negro, the camera stays with me," Ueli Maurer put it in a nutshell in the Weltwoche. But seriously, words cannot be banned simply because they could be misused. If that were the case, kitchen knives would no longer be allowed to be sold. Or screwdrivers. Whether the use of certain words is in bad taste or racist depends on the context. Thinking readers and publishers can be expected to consider this context. Or to read a little more like a child. Otherwise I see only one thing for the German language: black.
 

The follow-up campaign surprises with the themes of alphorn, Alpine blessing and flag-waving. This time, however, no mountains are being moved, but the "rustic Swiss" are getting fit for the world. The motifs developed by Crome especially for the Swiss market can currently be seen as an online campaign and as a public transport campaign.

Responsible at Berlitz: Chantal Dreyer (Marketing Coordinator), Britta Schröder (Country Manager Switzerland). Responsible at Crome: Bernhard Wenger (CCO), Helge Dilger (Creative Director), Miriam Koppold (Consultant), Carmen Kurath (Text), Patrizia Stalder (Art Director).

Beatrice Müller is setting up her own communications agency in Zurich. This was announced by SRF on Thursday. She has worked for Swiss radio and television for more than 25 years.

From 1984 to 1994, Beatrice Müller worked for Radio DRS 1, including the Regional Journal Zurich/Schaffhausen. In 1994, she was employed by the Beobachter advice program, and from 1995 to 1996 she worked at "Echo der Zeit". In 1996, she switched to television in the editorial department of "Tagesschau", where she has been presenting programs, conducting interviews and realizing contributions since 1997.

"I have decided to set out on my career path once again. 52 is a good age to focus on passing on experience," says Beatrice Müller about her professional reorientation. She says she was proud to have worked for "Tagesschau," always felt honored to be a member of this flagship that stood for good journalism every day. "Tagesschau" editorial director Urs Leuthard regrets Beatrice Müller's departure. She had shaped the "Tagesschau" for a long time, "not only as a professional and always factual presenter, but also as a reporter," he says.

What is this all about? Switzerland and its advertising - once a model country for original and good advertising - has degenerated into an advertising province. The big winners of earlier times such as Emmentaler, SBB, publishing houses such as Tagi, NZZ, SonntagsZeitung and many more, Swatch, Glattcenter, Mediamarkt, Coop and Migros, Sportplausch Wider, the legendary posters for the Willisau Jazz Festival (see old ADC books) are now only represented sporadically or not at all.

My theory for this development: Unfortunately, advertising in Switzerland has sunk to a freezing level. Of the only 673 entries submitted and awarded this year, most were generated for non-profit organizations or small and medium-sized clients: WOZ, Hiltl, Max Shoes, Unicef, Autismus Forum, Tibits, Swiss Smile, Pastorini, Theater Rigiblick. Alfred Burkhard's private birthday invitation was even awarded silver. So the big advertisers such as cell phone providers, SBB, banks, Nestlé, ABB, publishers and department stores are missing. Why they are missing is quite simple. The advertising agencies, infected by their scaremongering virus, do not allow any cheeky, fresh and creative advertising. Actionitis or overcrowded, unprofiled advertising is the result. And it's also clear that this doesn't make for a cube at the ADC. So the number of entries has fallen. If advertisers don't step on the gas pedal again, the ADC as an institution is threatened with extinction.

As the founder of ADC Switzerland in 1976 in the Kronenhalle on the 1st floor, I experienced the whole story of highs and (financial) lows at first hand. The idea was to get as many different creative minds as possible such as architects, designers, photographers, filmmakers, designers, journalists, copywriters and even musicians to join the ADC. All these Champions League Players were to judge the good, the better and the best once a year and immortalize them in a book. Martin Suter famously said: "We improve advertising by judging it." The ADC still aims to improve advertising today. What struck me at last Saturday's ADC Gala, apart from the excellent organization, the cool location in the freight depot and the delicious entrecôte, was that almost all the participants were dressed in colourless clothes. Was that already a pre-burial? Despite everything, my highlight of the week was the jury day and of course the ADC Gala.

 

Responsible at Wohnbedarf Basel: Bruno and Ursula Maurer (overall responsibility). Responsible at Flux Design and Brugger: Thomas Petraschke (creative direction), Heidi Windlin (graphics), Hans Peter Brugger (text/concept).

 

After 2009 and 2011 (Werbewoche.ch reported), the third edition of the Swiss Hotel Film Award is now being held under the motto: "You are welcome!". "The motto focuses on hospitality as an emotionally charged topic," says Guglielmo Brentel, President of Hotelleriesuisse. "It is intended to inspire filmmakers and can be interpreted in all possible ways."

Until April 15, 2013, the concept ideas can be submitted to Swisshotelfilmaward.ch can be entered. At the same time, Hotelleriesuisse member hotels can now apply to be a filming location. "The Festival Hotel Schweizerhof Luzern supported the film crew wherever possible and was able to provide hotel guests and employees with an exciting experience on a film set," says Clemens Hunziker, Director of the Hotel Schweizerhof Luzern and host of the winning film crew from 2011 and jury member in 2013.

Evaluation by expert jury and internet community

The expert jury nominates 20 projects from the submitted concepts, which are then filmed in a Swiss hotel for a maximum of two days. The finished films will also be judged by the internet community on the Swisshotelfilmaward.ch website. The highlight of the competition is the award ceremony on September 19, 2013 in Zurich. The award is endowed with a total of CHF 15,000. The expert jury is made up of experts from the film scene and representatives of the hotel industry from all parts of Switzerland. They are Sabine Boss (director), Philippe Clivaz (Visions du Réel), Madeleine Hirsiger (film expert), Clemens Hunziker (director of Hotel Schweizerhof Lucerne), Mohan Mani (film editor), Christoph Schaub (director) and Daniel J. Ziegler (director of Relais & Châteaux Hotel Le Vieux Manoir, Murten).