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Concise.pdf - Brugge Plus

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© ANIMOTIONS<br />

Concertgebouw<br />

the cultural year. Preliminary research had indicated that these crowd-pullers represented<br />

an enormous potential for overnight tourist stays.<br />

INTERNATIONAL PROMOTION<br />

The international canvassing for a project like BRUGGE 2002 cannot be disassociated<br />

from general city marketing. Therefore it was decided to strengthen the image of<br />

Bruges as a city to stay in. The major exhibitions were to act as major “draws” here.<br />

The promotion abroad concentrated on the neighbouring countries, plus Italy, Spain,<br />

Austria, the USA and Japan – important markets for hotel-based tourism in Bruges.<br />

There were three main target groups: the professional travel sector (the “trade”), the<br />

public and the press. The campaigns set in train for these respective target groups<br />

were each given a different slant in terns of the technical marketing approach adopted.<br />

Thus, the promotion aimed at the public included as a leitmotif the message “take<br />

your time to visit Bruges”, with the aim of fostering city trips or short breaks. In the<br />

communication targeting the trade, which was aimed primarily at tour operators running<br />

cultural tours, the emphasis was placed on the availability and affordability of<br />

the accommodation. The press action, meanwhile, focused on the creation of an overall<br />

image of Bruges and BRUGGE 2002.<br />

The WES study indicates that there was very great appreciation for the communication<br />

by and about BRUGGE 2002, which was regarded as strategically well thought-out<br />

and innovative.<br />

COMMERCIAL PRODUCT DEVELOPMENT<br />

BRUGGE 2002 offered the professional travel sector various “building blocks” that<br />

could be offered as part and parcel of specific holiday packages. The sector eagerly<br />

took advantage of these.<br />

The most innovative of these was the BRUGGE 2002 Pass. For a democratic price visitors<br />

could do justice to what the Cultural Capital had to offer, for three days. The<br />

BRUGGE 2002 Pass was intrinsically a good idea, but it did not properly get off the<br />

ground. The reasons for this were the fact that the price advantages obtained by the<br />

pass-holder were too small, the handling was too complex, and the range of extras on<br />

offer was relatively limited. As regards the latter, for example, the permanent offer in<br />

terms of museums in Bruges was not included. The period of use (three days) also<br />

prevented the customer from making optimal use of this special pass. Nonetheless

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