Alexandre Edelmann, Director of Presence Switzerland: “Swiss Made is a true luxury”

A while ago, when Alexandre Edelmann—the director of Presence Switzerland, a division of the FDFA responsible for promoting Switzerland abroad—declared that “Boring is the new sexy” when speaking about Switzerland, he was deliberately stirring the pot. A new tone of voice, which he believes is sometimes necessary in the noisy global landscape where diplomatic communication often goes unheard. Yet Edelmann isn’t one to take reckless risks. Since succeeding Nicolas Bideau at the end of 2022, now Head of Communications for the FDFA, he chooses his words carefully, embodying the ambassador role—though on that day, he had traded the suit for jeans and a cotton jacket, sporting a quartz Omega watch “that belonged to my grandfather,” he notes. His style is simple, which he prefers, far from the trappings that might be associated with his position.

In his office on Bundesgasse Street, a few symbols of Switzerland are tastefully arranged, including a poster of William Tell reimagined by Marvin Merkel, a former ECAL student. In his hand, he holds out a KitKat chocolate bar wrapped in the colors of the Swiss pavilion in Osaka—a welcoming gesture. “It’s a symbol of good luck in Japan,” he explains, “because its name sounds similar to ‘You will surely win,’ and it’s often given to students before exams. The power of symbols is fascinating—and in this case, it’s Swiss!” A diplomatic opening to an exclusive interview about Switzerland’s image abroad – specifically at the Osaka World Expo - its strategic global innovation position, and the extent to which its values shape the foundations of Swiss luxury.

The World Expo in Osaka has been open for a month now. What are your first impressions of the impact of the Swiss pavilion?

Attendance has been strong and in line with our goals—between 5,000 and 6,000 people per day, accounting for about 5% of the total expo visitors. Two years before the Expo opened, the Japanese media were full of doubts and moderate enthusiasm—but that’s fairly common; think of the Paris Olympics, for example. In fact, it’s been a great success. Our goal is to be one of the most visible pavilions, like we were in Dubai, where we had 1.6 million visitors and received strong media recognition for the quality of the project.

What strategies did you use to achieve this?

The Swiss pavilion is very well located, which is essential. Switzerland was also one of the first countries to promote its pavilion in Japanese media. We held several pre-launch events to root it firmly in the public imagination. Architecturally, the bubble design is visually appealing and easy to navigate. The pavilion content has received considerable media coverage. What’s interesting is that visitors are staying longer than we expected—especially in the innovation zone. In short, both the form and the substance are appealing.

What was the budget for the Swiss pavilion?

It was 17.6 million francs. Two-thirds came from the Confederation via a special credit approved by Parliament, and the rest from institutions, cantons, and private companies. We didn’t fully meet our fundraising goals on the private side, so we covered the shortfall internally to avoid increasing the Confederation’s net cost.

Do you work with the luxury industry on this level?

Not enough! For the Paris Olympics, we’re partnering with Omega, also an official sponsor. At the Dubai Expo, we had Rolex. Watchmaking is a key sector, but for Osaka this year, we don’t have a watch brand partner. We had advanced discussions with some, but nothing materialized. Japan is a very important yet stable market, perhaps with fewer stakes involved for the sector. The next Expo in Riyadh in 2030 may be more attractive. We’re currently in the preparatory phase. Parliament and the Federal Council will ultimately decide. We’ll also be in Belgrade in 2027 for the specialized expo, where we’ll tailor our message to fit the geopolitical context.

Why did you choose the classic Heidi image rather than something more futuristic for Osaka?

Heidi is fantastic. She embodies a free young woman who makes her own choices. It’s a very modern image. In Japan, her manga version is hugely popular. Everyone wants a photo with the mascot. It’s one of the rare Swiss icons with a personalized character. Our “Heidi to High-Tech” theme works really well—just like “Heidi to AI,” which our colleagues at the Swiss Consulate in San Francisco used. The goal today is to target both the general public and the B2B world—particularly the scientific community.

In a changing world, what does Switzerland need in terms of image?

To remain relevant and useful to others. Switzerland isn’t experiencing a reputation crisis, but we are in a global moment of redefinition. Our role is to remind people that Switzerland is a compass in times of uncertainty. Our image is strong and recognizable worldwide. According to the Nation Brand Index, which ranks countries by perception, Switzerland is in the top eight.

How do you sharpen that perception of trust?

In Osaka, for instance, we show the public that Switzerland is deeply connected to innovation—whether through quantum computing or forward-looking diplomacy and science (like GESDA, the Geneva Science and Diplomacy Anticipator). It shows that Swiss Made, when expanded to these fields, represents quality—and that can encourage Japanese companies to invest in Swiss capabilities. Our products are expensive because they’re high value. We must prove Switzerland is the best choice. It’s essential. The same principle applies in diplomacy. The recent Geneva meeting between China and the U.S. is a great example of our role as a facilitator.

In a more polarized world, communication styles have to evolve, right?

Yes. But we don’t want to add noise to noise. If being heard means giving up our values, it’s not worth it. We’re working to better define who we need to reach to defend our interests. Not everyone needs to be convinced in the same way, especially when it comes to innovation. In Japan, our message is clear - backed by the Osaka pavilion and also our presence at SusHi Tech, one of the country’s biggest innovation fairs, where our pavilion won first prize. Long-term consistency works. International Geneva also plays a key role—it’s important to communicate that to decision-makers, not just the general public.

You recently said, “Boring is the New Sexy.” Is that a shift in Switzerland’s communication tone?

It’s catchy, surprising—and gets people thinking: “If they’re bold enough to say that, maybe they’re not boring after all!” It opens the door to dialogue. That said, we must respect Switzerland’s internal balance and avoid creating tension. Our job is to adapt the language, so it resonates. We translate political, scientific, or economic positions into communication strategies. Today, everyone wants to be extraordinary. Swiss humility contrasts with that, but I’d say Switzerland is proud to be modest. That’s a concept worth exploring.

How should Switzerland respond to today’s increasingly provocative diplomatic communication—particularly from the U.S. ?

Whether to respond or not is a political decision. Presence Switzerland focuses on communication techniques—the tone or intensity is up to political leaders. But yes, the volume has increased, especially from the U.S. We’re working on reinforcing what already works.

What are your main interests in the U.S.?

Most public diplomacy work is done by colleagues at embassies—we support them. One of the challenges under the Trump administration was understanding how it functioned differently from the previous one. Our role is to highlight Switzerland’s economic impact for different audiences and maintain a positive image in the media and among decision-makers in every state. The method may change, but the message stays the same.

What does Swiss luxury represent to you?

Luxury in Switzerland isn’t formally structured—there’s no industrial policy. Society organizes itself and the state sets the framework. That bottom-up model is part of Switzerland’s success. If the luxury players don’t organize, it’s not the state’s role to do it—but it’s true they aren’t always united. Presence Switzerland doesn’t have a specific luxury narrative, and the industry hasn’t asked for one. Luxury brands already carry a strong image, and the Watches and Wonders fair in Geneva proves this impressively. When watch brands present abroad, they tell Switzerland’s story.

How do you define Swiss luxury?

Of course, watchmaking is part of it, though not all brands are luxurious. I’d also include health, education, and hospitality. Philosophically, if you assume luxury is unnecessary, then nothing in Switzerland is luxury—because our culture is rooted in function. But luxury is paradoxical: some products are baroque, others minimal. Quiet luxury is an interesting concept—very Swiss, aligned with our Protestant heritage: quality, honesty, trust. In that sense, Swiss Made is true luxury.

Yet Swiss luxury players do seem to struggle with speaking in a unified voice…

True, but again, it’s not the state’s job. However, partnering with major events like Watches and Wonders could be beneficial. I discussed this with Palexpo’s director. The goal isn’t to promote Swiss luxury per se, but to align our interests. This industry shapes Switzerland’s image—and vice versa. Of course, the flip side is the perception of high prices. The idea isn’t to overhype prices, but to align product value with quality. I’m not convinced watchmaking should focus only on the high end—the industrial core of the sector relies on multiple market segments. Producing one million watches is just as challenging as making a single million-dollar timepiece. Trust and innovation remain the two pillars of Presence Switzerland’s 2025–2028 strategy—and luxury fits those values perfectly.