messe.fieber Issue #01
Titelgeschichte | messe.fieber by i.xpo 1
Magazin f端r deutsche Version wenden!
messe.fieber by i.xpo
Take care, it's catching! Successful exhibition stands tell exciting stories. That's precisely what we want to achieve with our new messe.fieber magazine – bring you exciting stories that will give you interesting food for thought as you go about your day-to-day work. Sometimes surprising, sometimes profound – always entertaining and at the same time backed up professionally.
toilet attendant who tells us about a typical day for her at Messe Düsseldorf. You'll find out that messe.fieber is a little bit infectious. But don't worry: our team of 45 professionals are here to discuss your symptoms at any time.
As such, our main articles on 'Communication' range from the latest trends in 'Mobile Live Streaming' and 'Brand Rooms' to strategic storytelling at trade fairs, through to a report about a
Managing Director, i.xpo GmbH & Co. KG
Image: Frank Rümmele
messe.fieber by i.xpo 3
Focus on Lead story Page 4 Communication in the exhibition toilets? Cleaner Lale Yilmaz talks about business meetings by the urinals, and the regular guests she welcomes back to Messe DĂźsseldorf .
It's far from a quiet spot! Page 4
Trade fair communications Page 6 Agency boss Christian Windeck wants to see greater courage to be 'unusual', and better collaboration between exhibition managers and corporate communications. Exhibition facts Page 8 Most professionals would agree that communication before and after the trade fair, and advertising your own attendance at an exhibition is important. But is that what they do in practice? Face-to-face communication Page 10 Christian C. J. Schmachtenberg reports on the opportunities and limitations of spatial communication in the digital age.
Case studies Brand worlds of experience Page 14 Why has Deutsche Post AG installed what is probably Germany's highest Corporate Showroom on the 30th floor of its head office in Bonn? Interview with Cornelia GroĂ&#x;e.
Welcome to Brand Land Page 14
Shop-in-Shop Page 18 Despite all the gloomy predictions, bricks and stationary retail is not at breaking point. On the contrary: Online shops are increasingly moving to our city centres. Live streaming Page 20 Thanks to mobile streaming technologies, live moving images from the exhibition stand are a financial no-brainer. Who will benefit from using Periscope and the like - and who won't.
Special report Acting as representative Page 22 From hostess to Queen of Sweden. The work of a hostess or host is remarkably similar to that of a monarch.
From hostess to Queen. Page 22
Image: Frank R端mmele
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It's far from a quiet spot!
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Germany is the country of trade fairs. Hundreds of business transactions are completed here every day, and not just on the exhibitors' stands: In an interview with messe.fieber, 43-year-old cleaner Lale Yilmaz reveals that the exhibition toilets are an important point of communication, where informal discussions on the stand not infrequently become binding agreements. Messe Düsseldorf, Hall 10, south entrance. This is where Lale Yilmaz works. The employee of ISS Messereinigung works for the exhibition hall, keeping the ladies' and men's toilets clean. There is no doubt that Yilmaz enjoys her job: "I love what I do, the contact with the exhibitors and the many international visitors." Until a few years ago, Yilmaz worked as an office clerk for a company in Neuss, but had to give her job up for health reasons. It wasn't a problem for the good-humoured Neuss resident who only recently turned down her former employer's invitation to return to her old job: "I need people and the colourful bustle of the trade fairs around me." m.f Mrs Yilmaz, Moritz Freiherr von Knigge recently described what he sees as a simple rule of thumb for conduct at the urinal: "Have a pee and keep your mouth shut." But do you still see the toilets at Messe Düsseldorf as a 'communicative' place? Yilmaz Yes, definitely. A lot of exhibitors have business discussions with exhibition visitors in the toilets. They talk about product quality and negotiate prices. Men talk about football, the women exchange styling tips, and they all agree to meet in a restaurant or bar when they finish work. Of course it's particularly interesting the next morning when they talk about what happened the previous evening. It really is a more common occurrence than you'd think that colleagues slag off their bosses or business partners in the toilets and that person suddenly appears behind them out of a cubicle, looking visibly an-
gry. I see a lot of red faces and think that's bound to have consequences once the exhibition is over. m.f Statistically, one in six Germans uses their phone while on the toilet, and almost half of them check their e-mails there or surf the Internet. Is that the same in your toilets: "Not without my Smartphone!"? Yilmaz It's become the standard now. A lot of people go to the toilet while they are on the phone, or take a call there if their phone rings. If the weather's bad and the toilets aren't too busy, some people even take their mobiles to the toilet so that they can make calls in peace, or check their e-mails. m.f With so many exhibitions that you work at year after year, you must have 'regular guests' that you exchange a few words with? Yilmaz Particularly at 'Boot' and 'ProWein’ for boating and wine enthusiasts, you meet a few of the same exhibitors and have a nice chat with them. They ask how you are, and sometimes even invite you to their stand. I always refuse politely because the toilets of course have to be manned constantly throughout the working day. Now and then, exhibitors call by with a coffee or a snack for me. I think that's really considerate of them! m.f Different countries, different cultures. There's virtually nowhere else where so many different nations come together as at the exhibition hall. So you notice this internationalism in the toilets as well?
Yilmaz As you say, different countries, different cultures. When I first started working here, I had no idea why there were occasionally footprints on the toilet brushes. My colleagues explained it to me: Exhibition visitors from India, the Philippines or Indonesia, for example, are often used to squatting to relieve themselves at home. They don't know what to do with our western toilets and just climb onto them. A lot of Asians on the other hand – for hygiene reasons I presume – keep an unusual distance between themselves and the urinal. Sadly for me, their aim isn't always great (laughs). m.f You can tell us ... do women really not leave the toilet as clean as men? Yilmaz Unfortunately, I have to say that's true. Women might wash their hands after using the toilet, but they use the toilet brush less often and are more likely to leave scraps of paper or paper tissues on the floor. On the other hand I find it interesting that our male guests – particularly those of Asian origin – often wash their hands before they use the toilet but forget afterwards.
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Christian Windeck is managing director of the Bonn-based positioning agency rheinland relations GmbH. He worked for leading PR, public affairs and advertising agencies before founding his own agency in 2008. Today, he and his team take care of customers from a range of sectors, such as e.g. automotive, HR and construction & interiors, supporting them with strategy, content, design and online communications. Together with i.xpo, rheinland relations manages exhibition communications for, among others, the European Space Agency ESA and the European Organisation for Nuclear Research CERN.
Image: Frank Rümmele
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"You can't not communicate" is one of the most popular theses of the Austrian-American communication theorist Paul Watzlawick. But according to Christian Windeck, you sometimes get quite a different impression when you attend trade and public exhibitions in Germany. In conversation with messe.fieber, the managing director of the positioning agency rheinland relations, which is based in Bonn, called for strategic story telling, the highlighting of customer benefits and better collaboration between corporate communications and trade fair managers. m.f Mr Windeck, how can an exhibitor with a finite budget succeed in really standing out at an exhibition today? Windeck First of all, with product innovations that are highly interesting to exhibition visitors. Apart from that, in my view it is not necessarily just a question of available budget. An unusual stand design no doubt helps, but it's at least just as important to tell a strong and authentic brand story that exhibition visitors want to engage with. m.f You say that the importance of 'exhibition communication' is set to increase. How do you come to that thought? Windeck What objectives the individual exhibitors are pursuing by attending the exhibition of course varies from case to case. But because the traditional business of placing orders has sharply declined in recent years, the focus in the future – more than ever before – will be on customer loyalty, new customer acquisition and in particular on profiling your own brand. m.f So exhibition managers today need to be communication experts as well? Windeck Well, they do if they want to position their company and their brands to literally get noticed within the relevant target audiences. I find it remarkable that away from the exhibition, companies that show themselves to communicate highly creatively fail to do precisely that on their exhibition stands. To me, the reason for this often seems to be of their own making. Most companies have people in-house who take care of the organisational aspects of attending an exhibition. Then of course there's 'corporate communications'. However they are often not involved until the exhibition has been completely planned, when, with a bit of
luck, there's still time to put together a press release using a standard format. m.f So you are calling for people to take up the gauntlet and communicate more at exhibitions? Windeck According to the latest AUMA figures, exhibitors at trade fairs in Germany spend more on entertaining their guests than they do on supportive communications. In my opinion, for any company exhibiting at a trade fair, the design of their communications is just as important as the stand design. Experience shows that it is easier to attract key visitors and prospects to your stand with convincing stories, and then impress them with the content you want to communicate. Actually, the same thing applies for relevant parties who will disseminate your message and stakeholders, for example media representatives or politicians. m.f At what stage should corporate communications become involved in the planning process? Windeck The exhibiting company's trade fair managers should get their own communications department or an external agency on board right at the start of the planning process. It's also important because in certain circumstances, the communications tools that are then developed could mean making changes to the stand design. As the project progresses, the communications department could and should be involved in all the activities to do with invitation management, event highlights, lead management, media relations, online PR and corporate media as well as follow-up contact.
m.f So how do you successfully 'get noticed' when you're exhibiting at a trade fair? Windeck First of all, you need a strong story that conveys the unique selling propositions and has what it takes to make customers, trade fair visitors and media representatives want to know more about your company and its products. Although to be honest, these stories don't simply drop from the heavens just because you've got your next major trade fair in a few months. But the key question is: "What have we got to say, and why would a potential customer be interested in our products – rather than those of a competitor?" The answer to that is defined by the fundamental direction of the company's strategy. It is the task of exhibition communications to embed the related messages in the target audience's minds by means of striking measures to literally 'get noticed'. m.f Do you think exhibitors focus too much on so-called push communication? Windeck Yes, I think so. A company's own brand is too often 'over-penetrated' while communicating the benefits takes a back seat. However exhibition visitors and media representatives are highly selective about where they invest their time. You can get your target audiences actively interested – particularly if you are not a market leader or if you are a niche supplier – only if you present your brand story in such a way that it not only catches the eye, but at the same time promises a specific benefit in use communicated by means of crystal clear messages. A well thought-out stand design without supporting communication measures no longer achieves that.
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Numbers don't lie.
of the annual marketing budget is spent on exhibitions and events.1
Sources: 1 Tradehouse Magazine 2 Exhibitor Magazine 3 TSIS 4 CEIR 5 Exhibitor Magazine 6 TSIS
of exhibitors do not define any targets for attending an exhibition.2
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Only of stand personnel receive specific training in preparation for an exhibition.3
Only of leads gained at exhibitions are followed up.6 02 2 8 – 6 5 1 2
of exhibitors do no pre-show marketing worth mentioning.4
60 4 3 92 50 99 5 200 0 2 45 5 25 4 4 4 46 620923 4 425 34 445 9 5 5 2 6 02 5 45 4 0 3 5 5 95 4 29 20 63 234 6 2 2 42 3 52 29
0 4 6 93 6 653 2 3 435 6 0 5 5 4 0 2 2 2 2 4 56 2 5 52 2 3 6209 46 0 3 4 3 42 2 6 5 42 7 5 2 84 02 2 54 923 3 55 403 553 4 5 45
0 4 5 409 5 4 2 4454 5450 2 5 2 4 52 0 5 5 29 4 3 24 09 5 5 55 4 5 3 65441 4 2 9354 05 09 4 6 3 56 41 4 4 0 4 2 562009 095 54 12 7 44 4 4 60 3 46 02 94 0
of all exhibitors have no post-show debriefing or evaluation.5
0 95 9 7 2 4 6063 3 5 2 4 5 645 4 5 24 24 45 5 5 4 0851 14 54 4 3 9 6 4 44 5 54 3 4 34 42 5 55 400 909 4 52 5 5 64 2 6 5592 6245 2 5 05 6 33 2 2 30 2 20 2 2
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Back to the future
Christian C. J. Schmachtenberg studied visual communication in Maastricht, Melbourne and Düsseldorf, specialising in 'Experience Communication'. He went on to work for leading agencies in spatial design. His projects and creative direction, including at Totems (Stuttgart), Jung von Matt (Cologne) and MDLab (Munich/Seoul) have received multiple awards. Since 2005, he has been teaching 'Communication in Space' at DHBW Ravensburg. During 2011–2013 he was appointed to the Fresenius University of Applied Sciences where he held a professorship in 'Media-Based Interior Design and Spatial Staging'. Under the title 'Memories of the Future', he and his partner Fabian Rothe explore scenographic and dramaturgical options for fathoming and further developing the limits of communication in a space (both analogue and digital). Christian is a member of Art Directors Club Germany.
Image: Christian Schmachtenberg
Face-to-face communication in the digital age
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How can you bring a brand to life, how can you demonstrate what's unique about it and get people to see what distinguishes it? How can the brand become front-of-mind in consumers' minds? What are the rules to follow? The force is in how the brand value is translated. The answer is a symphony of elements from architecture, graphics, film, light and technology, with the help of digital formats, to create brand worlds that deliver a sensual experience. The spatial signatures address every aspect of human perception and anchor messages even in the deep layers of consciousness. Brands point the way. A banal word becomes a complex design principle. That is the starting point. The year is 2011 and we are invited to the IAA in Frankfurt. The key talking point at the world's biggest automotive exhibition: the future is mass production. Sounds exciting. Before the show, customers and colleagues tell me that brand communication needs a rethink: it needs to become more digital! Social media, story-telling and content are the new magic words. The digital shift is in full swing. Let's consider a few hard facts: UBER revolutionised the taxi industry without ever owning a car. Airbnb successfully attacked the hotel industry without ever having purchased a property, and Skype is emerging as a globally operating phone giant, without ever having operated a telephone mast. Silicon Valley is taking the lead – but how are marketing departments reacting to this shift? Our look around IAA 2015 was certainly sobering. Nothing has changed. The large car manufacturers of course make an impression with prominent brand positioning, but if you are looking for signs of courage to do something new, you are looking in vain. Unfortunately. Even though the mix between 'real' and 'digital' is being propagated across all channels – successful implementations are rare. Only Volkswagen has shown a bit of bravery and translated the power of social media into an experience: Visitors to the auto-
motive exhibition were able to visualise their Facebook profile on the exhibition stand. Volkswagen called this campaign, which allowed visitors to create the world's first social media footprint, Social Aura. An idea with great potential and the call to further develop this format. We unfortunately have to conclude that it's not the agencies that are short on ideas; it's the companies that are putting the brakes on, despite all the technological capabilities. Time for a change! In summary: The world is becoming increasingly digital and fast-paced – but the desire for moments of truth is becoming more intensive. That opens up new opportunities for coming into contact with our customers. The aim is to load spaces with messages, feelings and quality of time. Right alongside this and almost invisibly, digital formats help us to strengthen face-to-face communication. We need to develop new ideas which bring man and machine together intelligently and meaningfully. The art is in positioning the brand only in the subconscious, because overloaded brand messages are undesirable. Just think about how the retail market alone will develop in the future? Digitalisation will create new opportunities which will significantly drive the brand experience and allow for new profitability. Example: Think of the many large showrooms run by brand manufacturers in the
clothing sector. These are generally large 1,000 m2 sites in prime locations. Thanks to technological developments, the rental area can be more than halved and the brand experience intensified. What remains is an investment in a very well organised form of media-based interior design – with a lower rent because the rental space is reduced. The ROI comes quicker than expected. Audi is the frontrunner in this segment and has managed to create a showroom in the heart of London with only one real car. The possibilities are communicated with the help and support of digital formats – at an affordable rent. Just imagine what real estate with space for more than ten cars would cost in central London! The design options are infinite. But they take courage, and the desire to dare to do something different. Germany is the country of ideas. Let's use our potential to make the world a little smarter with intelligent creations. Anyone can complain – but let's make things better instead! Remain open and actively design change, including in your own organisation!
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Case studies References reloaded
When we started with the idea for the messe.fieber magazine we were – honestly – far from clear about what to do with our references. That was mainly because across the industry, it has always been standard to showcase exciting customer projects with visually stunning, preferably double-sided, stand photographs.
Our 'Case studies' section therefore includes an interview with the division manager of Deutsche Post AG on the installation of what is probably Germany's tallest corporate showroom, a background report on the latest shop-in-shop trends from the USA as well as valuable tips on using free live streaming apps when you're exhibiting at trade fairs.
To get to the point: We've had a rethink on this old habit. Why? Because deep down, we don't really believe it will bring you any real added value. Every brand has its own genetic code. Every brand or product tells a different story. What might interest you just as much as the actual stand construction itself, is the conceptual route to getting there.
So we have presented our customers' stands, exhibitions and showrooms via a far more appropriate channel: You can see them on our website at www.ixpo.de.
Image: Frank Rümmele
Ulf Stollenwerk Head of marketing & sales, i.xpo GmbH & Co. KG
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Welcome to Brand Land Whether showrooms or brand lands â€“ brand experiences are becoming increasingly important in German companies' communication mix. Their task is clearcut: It is to increase brand identification among internal and external reference groups. They do that by enabling brands to be experienced at the same time as informing, rousing emotions and entertaining. The precursor to today's showrooms are the 'demonstration rooms' introduced by the American sewing machine manufacturer Singer. The son of German immigrants made his products popular with them in selected major cities in the USA back in the mid-19th century. Today, umbrella brands primarily favour showrooms and brand lands. In addition to external target audiences, conceptually they are increasingly focusing on their own employees and other important stakeholders â€“ like the Deutsche Post DHL Group's 'Level 3.0' showroom in the Post Tower in Bonn.
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Cornelia Große Head of In-house Management Centre/Bonn, Deutsche Post AG
m.f Who is 'Level 3•0' designed to appeal to? Große The In-house Management Centre / Bonn visitor service attracts more than 10,000 visitors annually to around 400 groups in the Post Tower. As part of a 'First Choice' measure and on the basis of a comprehensive customer survey, it became clear that this customer potential needed to be more strongly exploited, and the group's products and services needed to be better presented. While the Innovation Centre in Troisdorf offers precisely this for business customers, there had been no similar platform for visitors to the Post Tower.
With every Post Tower guided tour, Level 3•0 now offers precisely this platform for the target audience of private customers. Here's what's new: The In-house Management Centre/Bonn will offer additional Post Tower tours which interested individuals can register for now. m.f What communication aims are you pursuing with your display? Große In the past, the content of Post Tower tours focused on information about the company's history and the architecture of the Post Tower building. The Level 3•0 showroom is designed to also show visitors the diversity of the latest product range and the broad choice of services offered by Deutsche Post DHL Group. The interactive design invites visitors to try things while they are there.
m.f To what extent does 'Level 3•0' reflect the brand identity of the Deutsche Post DHL Group? Große Deutsche Post DHL Group is the world's leading company for logistics and postal communication. In its core business areas worldwide, the group focuses on being the first choice for customers, employees and investors. It connects people, facilitates global trade and makes a positive contribution to the world through corporate social responsibility and Corporate Citizenship. The group-wide Strategy 2020, with its core themes of Focus.Connect.Grow, provides the right framework for this. Level 3•0 focuses on precisely these core themes and reflects the group's direction. A wide range of postal services with a focus on private customers are bundled in a single display for customers. Level 3•0 brings visitors together (e.g. via the
Image: Deutsche Post DHL Group
In an interview with messe.fieber, Cornelia Große talks about the aims behind 'Level 3•0' and the particular demands in terms of conception and implementation of the project.
i.xpo was responsible for the conception, planning and implementation of the permanent interactive display in what is North Rhine-Westphalia's tallest building at 162.5 metres.
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SIMSme product) as well as introducing potential customers to the group. m.f How did you manage to integrate the Post Group's 11 business areas harmoniously in the display? Große The In-house Management Centre/ Bonn team developed an outline layout for Level 3•0 which fits harmoniously with the existing architecture of the Post Tower. In the first phase of the project, which is now completed, the focus was on products and services that are relevant to visitors on the Post Tower tours. The business divisions Post – eCommerce – Parcel are mainly responsible for these. Working with the division's staff department, 11 specialist areas were selected for the display. Thanks to the continuous coordination work between the theme managers as well as the project team and corporate communications, we were able to integrate the 11 individual contributions from the specialist areas within the specifications of a uniform layout. m.f Is 'Level 3•0' a permanent installation, and do you plan to update the display if necessary? Große As a fixed element of the new Post Tower tour, Level 3•0 is a permanent fixture. However the specialist areas displayed will be changed in the future. As such, the flexibility to modify and extend the display in the future, as well as harmonious integration in the existing Post Tower architecture, was another important criterion for the outline layout. The fixed sub-structure which can be covered as you wish with fabrics and finished with foil prints allow the display to be changed and updated at any time. The option to add to and extend the display was also taken into consideration in the spatial planning. There are plans to extend the display as early as 2016: A further phase of the project will focus on bringing the broad range of services as well as the Deutsche Post DHL
Group brand closer to visitors. Level 3•0 will then be extended to include additional display areas for air and sea freight as well as road transport and contract logistics. The areas Express, Finance, Global Business Services and Supply Chain will complete the display. m.f Do you have the tools to measure the success of 'Level 3•0'? Große Both visitor numbers and the perceived quality of the display will be measured: The visitor service prepares a range of statistics so that the quantitative development can be measured and monitored at any time. To measure the quality, the customer survey carried out in 2014 will be repeated in 2016.
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Showroom SAME, SAME. BUT DIFFERENT.
entertainment & sales
in places frequented by visitors
generally leased and arranged
information & dialogue
at the production and main site
generally specially built
Image: Deutsche Post DHL Group
medium and long-term
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I'm moving in with you! Why brands and even online shops are increasingly moving to bricks and mortar
Image: Modul A, Stefan Rรถhler
Sit in your flip-flops to order the finest Kobe beef for your BBQ from the local delicatessen? Order that top-of-the-range 7-Series BMW from your bed in the middle of the night? While DHL and Amazon have long been working on drone-supported same day delivery solutions, some people are wondering how stationary retail stores will justify their existence in the future.
As well as shop-in-shop systems, i.xpo is also responsible for delivering the Panasonic collaborative trade fairs.
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That the retail sector has changed hugely in recent years is undisputed. Small corner shops are dead, and the culprits have been quickly found. That would be, among others, extremely price-sensitive customers, the outlet village epidemic ... and online shops of course. So it may surprise you to know that just under half of us still shop in a physical store at least once a week, while only just over quarter fill their shopping baskets online in the same period. A current study by PricewaterhouseCoopers business consulting underlines that these figures are currently not showing any significant shift to the detriment of retail. Among the reasons in favour of physical stores from the consumer's perspective are saving on delivery costs (65%), the desire to experience the product live (61%) and being able to take them home immediately (60%).
This shopping experience is what the online shops would like Experiencing the function, design and feel literally in your hand is a unique selling proposition that in its pure form only physical stores can offer – at least until the elation of Zalando customers whooping with joy comes to an abrupt end because of the returns process and the need to queue at the parcel counter. The lack of shopping experience and the high cost of returns mean that American online shops in particular are taking what appears only at first to be an unusual step: into local stationary retail stores. The trend towards so-called pop-up shops is being served by providers such as thestorefront.com at costs ranging from $200 to $5,000 per day depending on size and expected turnover. In Germany, there are similar providers currently only in the fashion and art segment, and predominantly in the big cities such as Berlin and Cologne.
Sample pop-ups: the conventional shop-in-shop solutions The American pop-up shops follow the concept of conventional shop-in-shop solutions seen in German shopping centres. There are many reasons why branded articles are increasingly finding their way into stores in this way. One opportunity to fully showcase brands and products, with specially trained staff, and most importantly without the interference of competitors at the POS, are own-brand flagship stores. Furthermore, shop-in-shop solutions offer a very good alternative, particularly because they use existing infrastructure and so are far less cost-intensive. Screens with product information and product presentation using tailored displays adapted precisely to the products are just two examples of how shop-in-shop enhances each supplier's products, even around their competitors.
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from the exhibition stand Reporting from their own exhibition stand by live moving image has until now hardly been an option, particularly for small and medium size businesses. Either the complex video technology blew the exhibition budget, or it was assumed there was no potential to go viral worth mentioning. With the market launch of Twitter's 'Periscope', mobile live streaming of, for example, keynotes, press conferences and product demonstrations at exhibitions suddenly became interesting to small companies as well. Whether you prefer the portrait format 640 x 360 pixels of Periscope or the professional high-end solution of a video production – the triumph of moving image communication at exhibitions has only just begun. At the Consumer Electronics Show in Las Vegas, Panasonic broadcasts its opening press conference to the net via Periscope. And they are not the only ones. A good many bloggers and online journalists also report from the Panasonic stand – live via Periscope of course.
The trend towards mobile live streaming is in the meantime not just evident in the USA. For example, Siemens also streamed its 'Digital Twin Show' via Periscope from the Hannover Messe. We can assume that the two companies cited didn't use Periscope because they wanted to avoid a complexly staged video production for budget reasons. On the contrary, both exhibitors have precisely these premium quality videos on their YouTube channels. What interested Panasonic and Siemens in Periscope was the use of an additional, in the best case viral, communication channel and the opportunity to take viewer questions during the live stream and enter into direct dialogue. Possibilities and limits of mobile live streaming These examples very clearly show what is currently possible with free mobile live streaming tools like Periscope or Meerkat – and what is not. Periscope live broadcasts can only be activated via a Smartphone app. The resolution is far
removed from what would get viewers spoilt by HD excited. But herein also lies the appeal for small companies in particular that are just discovering live streaming at exhibitions. Because perfect, TV-like broadcast quality cannot be achieved with Periscope anyway, small and medium size businesses are increasingly taking courage and offering prospects who can't get to the exhibition stand the opportunity to be part of the exhibition experience up close via live streaming and chat functions. Professional video streaming demands more As exciting as the development in mobile streaming may be: A mobile phone video on a Twitter page is surely not really the right communication tool for marketing high-end products or sensitive news to discerning target audiences. Accordingly, the German Institute for Federal Real Estate (BIMA) successfully adopts a different approach when exhibiting.
Together with the multi-person team from a professional video-maker, the Bonn-based authority streams relevant keynotes or round table discussions from multiple camera angles and in HD quality not only onto the LED media wall on the exhibitions stand, but also live to the Internet. As a result, each year around 10,000 viewers see BIMA videos, either live or with a time delay on the website – an exceptionally high number when you think that their services are primarily of interest to a specialist professional audience. One of the most successful streaming events by BIMA, which among other things is responsible for the sale of government-owned real estate, is a podium discussion on the sale of the former armed forces garrison site in Immending-
en to Daimler AG. The automotive group is to create a unique testing and technology centre there by 2018. The round table discussion, in which representatives of the issuer and Daimler took part along with the local mayor, was accentuated by visually powerful video inserts, and made it emphatically clear to the stand visitors and on locals' PCs that the withdrawal of the armed forces would not have negative economic consequences for the community. Live streaming at exhibitions: Where will the journey take us? It seems logical that mobile streaming applications such as Periscope will not be sufficient to cover every exhibition topic in a way that suits the target audience. Nevertheless, many companies are offering an additional highly interesting corporate media channel that could conceivably be
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used more, and in particular at exhibitions. Even though viewer numbers for Periscope broadcasts are currently limited, for the companies that stream their exhibition attendance live at least one thing is clear – the image as a first-mover is a promising tool, particularly for reaching younger, tech-savvy target audiences. A further important step towards the acceptance of mobile live streaming applications, particularly in Germany, is expected at the end of the year – when Facebook plans to make its own streaming app, which is currently restricted to selected prominent figures and TV stations, live to all website operators.
Image: Bundesanstalt für Immobilienaufgaben
Live streaming of the BImA keynotes from the ExpoReal in Munich. The exhibition stand was designed and realised by i.xpo.
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REPRE Language skills: Manner: Appearance: Stamina:
Image: Sven Simon
Hostess at the Summer Olympics 1972
Silvia Sommerlath was born in Heidelberg in 1943. After her school-leaving exams at the Luisen-Gymnasium secondary school in D端sseldorf, she attended the Sprachen & Dolmetscher Institut for foreign languages and interpreting in Munich. As a hostess at the Summer Olympics in 1972, she met her future husband Carl XVI Gustaf of Sweden. The couple fell in love and celebrated their marriage on 19 June 1976 in Stockholm. Today, as Queen Silvia, she represents a whole country.
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SENTING German, English, French, Spanish, Portuguese, Swedishâ€‰... professional and friendly pleasing and well-groomed high
Queen of Sweden 2016
24 Special report | messe.fieber by i.xpo
What queens can learn from hostesses and hosts Does the road from the exhibition stand lead to the throne room? Only in the rarest of cases. And even when it does: Silvia Sommerlath herself didn't suddenly become a princess after the 1972 Summer Olympics. But one thing is for certain: In her role as Queen, she still uses many of the skills and characteristics that were expected from her as a hostess. And it all involved acting a representative. The profile of requirements for hostesses and queens are remarkably similar. They are required to represent – a company and its products, or indeed a country. Foreign language skills are expected, fluent English as a minimum, and they must have a professional and friendly demeanour. Diplomacy is as much valued as a pleasing and well-groomed appearance. Last but not least, huge commitment and stamina are required. However much fun both jobs are, they can sometimes be exhausting too. Even though hostesses and hosts, unlike queens, don't need to think in decades.
Making contacts is a bonus When hostesses and hosts show products at exhibitions in the right light, it's surely only very rarely that they dream about a throne room. Aside from the financial aspect, which should not be underestimated, their motivation is quite solid. For many of the younger hostesses and hosts who job at exhibitions while studying, establishing contact with potential employers is a welcome bonus. In any case, it is a good opportunity to meet a lot of interesting people. And sometimes, the much sought-after exhibition job is followed by an even more sought-after placement, which opens more doors.
Finding the right hostesses and hosts Companies generally find hostesses and hosts for their exhibition stand via an agency, e.g. www.promotionbasis.de. A lot of hostesses and hosts are registered here with sed cards and a picture.
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What should you always look for in hosts/hostesses? »» presentable appearance »» ability to grasp things quickly »» professional demeanour »» good foreign language skills (fluent English) »» well-groomed appearance What does it costs to hire hosts/hostesses? »» standard hourly rate: from 15 euro, usually twice as much via agencies »» payment according to hourly or daily rates, plus travel costs, specific clothing, name badges etc.
A typical profile of requirements: »» proactively address visitors »» product advice »» take care of experts & VIPs »» accompany stand tours »» carry out visitor questionnaires »» lead generation Tip: We repeatedly see discrepancies with respect to image rights in relation to personnel appointed from outside. You must therefore always ensure that rights of use are secured contractually!
Special report | messe.fieber by i.xpo 25
From the diary of a hostess Exhibitors often have no direct link to hostesses and hosts. All they have is the sed card that tells them the person's hair colour, size, weight and foreign language skills. We want to change that and asked the prospective interpreter Julia to tell us about her experiences while jobbing at the IAA exhibition during her studies.
Dear exhibition diary! It's me, Julia!
Day 1 My new mission: To stand next to the cars and smile, come what may, and get potential customers to notice my stand. Before the exhibition opens officially, my colleagues and I are once again reminded of our tasks. Then it starts. We run (on high heels!) to the cars and everyone tries to secure the 'best model' for themselves. Which one that is, I am not quite sure. But then I find it, my friend on wheels for the next few days. I now need to be able to explain this car in detail, although I've never had the chance to drive it. Maybe I could take it for a spin later? For purely professional reasons, of course... Day 2 Most of the visitors are genuinely interested in cars, and ask a few questions. There are still men who are convinced that women haven't got a clue about cars. They of course don't want me to explain anything, they'd rather take great selfies with the car, or with me, or with both. Standard pose: Behind the wheel, thumbs up or the victory sign. But sometimes my language skills are in demand, and I give visitors information in English or Spanish. I am now deeply involved in my job at the exhibition. Boring is something different.
Day 3 I am almost used to my outfit by now. Of course it could be something cooler. With other brands, the girls are even allowed to wear jeans and trainers. I envy them a little. But when I look at the body painting models running around the exhibition hall practically naked, I am happy about my outfit. Nevertheless, the shoes take some getting used to. Ten hours in eight centimetre heels is no walk in the park! Thankfully I have a spare pair and some blister pads with me. Unlike so many of my colleagues, I still manage without painkillers. Oh yes: Don't forget to smile! Day 4 I! Am! Hungry! I simply don't have the time to eat and there's no chance of anything more than a small snack. It's horrible when visitors eat in front of me and even drop crumbs in the car with great relish. That's a real no-go for exhibition visitors. Most of the other hostesses don't eat often either. Do they believe there's an undiscovered top model just screaming to get out? Do they think the job is about spending a week posing, smiling and looking desirable? Girls! Don't forget that an exhibition is about the products, not about you!
Last day Time for a round-up: Even though my feet are hurting more than ever and I can't wait to finally take my shoes off, I have really enjoyed my job as an exhibition hostess, even though a prince has not kidnapped me and taken me off to his castle. I was able to use my fluent Spanish surprisingly often and I met a lot of interesting people. Highlight of the day: I secured myself one of the most popular spots behind the wheel for the closing sounding of horns, and I tooted the longest and loudest.
Image: (photocase) himberry
Day 1 minus 10 Before the exhibition has even begun, I attend a ten-day product training course. In a simple seminar room, I learn all about the car that I am going to present in the days ahead. Aha, a hostess not only has to look pretty, ideally she should also come across as extremely competent. I try to pay proper attention and note everything so that I can answer any questions later. I have even learned how to explain the difference between a common rail and a pump nozzle. Who would have thought it!
IN ZUSAMMENARBEIT MIT: IN COOPERATION WITH: rheinland relations GmbH Gottfried-Claren-Straße 5 53225 Bonn www.rr-pr.com BILDNACHWEISE PICTURE CREDITS Titel/S. 2/4/6/12 Frank Rümmele /// S. 10 Christian Schmachtenberg /// S. 14 –17 Deutsche Post DHL Group /// S. 18 Modul A, Stefan Röhler /// S. 20 Bundesanstalt für Immobilienaufgaben /// S. 22 Sven Simon /// S. 23 Kungahuset.se /// S. 25 (photocase) himberry
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