Joni Müller
Jury Chair for Audience Submissions (Series)
Jury President Public Ads (series)How would you rate the standard in your category?: Good. There were only a few really bad works. And even among those that failed, there were some that would have won bronze if the competition had been weaker. I didn't see any new trends.
How is the quality of this advertising vintage in general?
Müller: Average on average.
Your conclusion after 26 years of ADC: Has the standard of the submitted work increased, remained the same, or deteriorated?
Müller: As we know, everything used to be better anyway, including the standard of the work submitted. However, in addition to the usual pretentious glorification of the past, this can also be explained by the fact that people remember the highlights of at least five years in a single year. And the present can hardly keep up with this. But the standard is no higher than in the past.
Can newcomers be spotted, or did the ADC habitués win once again?
Müller: Once again, it was almost exclusively the same large agencies and the usual exceptions that won. For most of the works, however, I only know which company they come from and not who did them. There may have been one or two newcomers at work internally.
Which works do you give a chance for the Cannes advertising festival?
Müller: Flims Laax Falera and Radio DRS.
What did you pay particular attention to during the evaluation?
Müller: The idea, of course. But the Bally ads are so beautiful and perfectly done that we gave them bronze, even though they are unimaginative.
What stood out to you as you evaluated the work?
Müller: Text has always been regarded as a gray value by the ADs, but now it is also being treated as such by the copywriters and concept developers. The Migros do-it campaign by WHS was the only work in which text played a role at all. Maybe that's why it only won bronze. Despite the danger of maneuvering myself into the camp of the sour cultural pessimists: I think it's a shame that the text is treated so stepmotherly today.
Has advertising become bolder?
Müller: No. And it is to be feared that she will now become even more despondent.
What importance do you attach to lobbying in such competitions?
Müller: Officially none, unofficially a lot. However, it's not lobbying in the strict sense, but rather the tacit agreement "tit for tat". That evens itself out over the years. However, this makes it more difficult for entrants who are not or only weakly represented in the ADC to win anything.
Based on the advertising, will you now buy one of the award-winning advertised products?
Müller: I certainly won't be buying Laax or DRS 3, but I will continue to use the ZVV.
Has this competition raised your professional pride as an advertiser to a new high?
Müller: Pride goeth before a fall. (Proverbs 16:18).
Has there been any work that has achieved art status for you as an art director?
Müller: No.
How is the quality of this advertising vintage in general?
Müller: Average on average.
Your conclusion after 26 years of ADC: Has the standard of the submitted work increased, remained the same, or deteriorated?
Müller: As we know, everything used to be better anyway, including the standard of the work submitted. However, in addition to the usual pretentious glorification of the past, this can also be explained by the fact that people remember the highlights of at least five years in a single year. And the present can hardly keep up with this. But the standard is no higher than in the past.
Can newcomers be spotted, or did the ADC habitués win once again?
Müller: Once again, it was almost exclusively the same large agencies and the usual exceptions that won. For most of the works, however, I only know which company they come from and not who did them. There may have been one or two newcomers at work internally.
Which works do you give a chance for the Cannes advertising festival?
Müller: Flims Laax Falera and Radio DRS.
What did you pay particular attention to during the evaluation?
Müller: The idea, of course. But the Bally ads are so beautiful and perfectly done that we gave them bronze, even though they are unimaginative.
What stood out to you as you evaluated the work?
Müller: Text has always been regarded as a gray value by the ADs, but now it is also being treated as such by the copywriters and concept developers. The Migros do-it campaign by WHS was the only work in which text played a role at all. Maybe that's why it only won bronze. Despite the danger of maneuvering myself into the camp of the sour cultural pessimists: I think it's a shame that the text is treated so stepmotherly today.
Has advertising become bolder?
Müller: No. And it is to be feared that she will now become even more despondent.
What importance do you attach to lobbying in such competitions?
Müller: Officially none, unofficially a lot. However, it's not lobbying in the strict sense, but rather the tacit agreement "tit for tat". That evens itself out over the years. However, this makes it more difficult for entrants who are not or only weakly represented in the ADC to win anything.
Based on the advertising, will you now buy one of the award-winning advertised products?
Müller: I certainly won't be buying Laax or DRS 3, but I will continue to use the ZVV.
Has this competition raised your professional pride as an advertiser to a new high?
Müller: Pride goeth before a fall. (Proverbs 16:18).
Has there been any work that has achieved art status for you as an art director?
Müller: No.
