A right comparison
Guye Benker describes the readers of the new *Weltwoche* as more interesting people
Guye Benker positions the readers of the new Weltwoche as more interesting peopleBy Andreas Panzeri Three months after the launch of the new Weltwoche, Guye Benker is launching another campaign with the aim of anchoring Weltwoche as a cult and status object. The subjects play with the otherwise frowned upon argument of comparative advertising in a humorous way.
The relaunch of Weltwoche as a magazine with "style, class and substance" was successfully completed on May 8. The previous subscribers have remained loyal to the magazine, reports the publisher Jean Frey. At the same time, thanks to
The introductory campaign attracted numerous new subscribers. Weltwoche also continues to sell at least 50 percent more at newsstands than in the same period last year.
Three months after the launch of the print subjects with the expectations of various personalities from culture and business for the new Weltwoche, the advertising agency Guye Benker is now launching another campaign with the aim of "anchoring Weltwoche as a cult and status object", as CD André Benker explains.
The new campaign is based on the idea that the new Weltwoche, with its "interesting mix of topicality and surprise", regularly provides exciting and intelligent reading for just such readers. "This fact is taken up in the new campaign and demonstrated with a simple juxtaposition," says Christophe Guye. Six juxtaposition motifs are intended to make it clear to the viewer of the posters and advertisements that Weltwoche readers are the more interesting contemporaries.
The advertising identity should match the visual identity
The subtle "comparative advertising" became very concretely comparative in the opening subject, in that a Facts reader is shown next to a Weltwoche reader in response to the provocative question: "Who would you rather invite to your home?".
"Of course, this was agreed with the Facts publishing management," reveals Guye and confirms that this advertisement was also intended to convey a bit of humor within the industry. However, Christophe Guye does not consider comparative advertising to be frowned upon or even prohibited, "as long as it is not disparaging". However, the subtle approach required for this is very rare. In addition, customers shy away from the risk of having to deal with a potentially unpleasant change in their situation if the competition suddenly starts to fight back.
This is exactly what is currently happening in Germany. Under threat of a fine of a quarter of a million euros, Burger King is no longer allowed to show the commercials developed by Start Advertising in Munich, in which Ronald McDonald "eats out" with relish and humor at the competitor Burger King.
Such cases have not yet occurred in Switzerland because people here are probably "overly decent". When dealing with competitors, people in Switzerland tend to get along well and there is no sporting battle, says Guye.
The new Weltwoche campaign in relation to the current SonntagsZeitung campaign is also not a sporting replica and is therefore purely coincidentally similar. This campaign also uses subtly comparative advertising, for example by comparing heads that are too big and too small with the ideal head of the SonntagsZeitung readership in a three-way comparison. It is clear to everyone what is meant when an egg in an eggcup symbolizes the correct content of the SonntagsZeitung, while a potato in an eggcup stands for the SonntagsBlick or caviar for the NZZ am Sonntag, which is thus classified as elitist.
Under no circumstances should the fact that the person on the right-hand edge of the picture is armed with a Weltwoche be interpreted politically in the new campaign. "It's all to do with the eye movement," laughs Guye. Logos are also placed on the right in correctly designed advertisements.
As far as the styling of the new Weltwoche as a cult object is concerned, the advertisers at Guye Benker want to express that the Weltwoche is to be seen under the arm as a branded article like a watch or the suit of a particular brand.
It was also important for the campaign that the motifs were realized by different photographers who have worked with Weltwoche in the editorial field to date and will continue to do so in the future. In the advertising, the product should be recognizable because the style of the font and the photos is the same as in the advertised magazine. Or to put it more technically: the advertising identity should be derived from the visual identity.
The relaunch of Weltwoche as a magazine with "style, class and substance" was successfully completed on May 8. The previous subscribers have remained loyal to the magazine, reports the publisher Jean Frey. At the same time, thanks to
The introductory campaign attracted numerous new subscribers. Weltwoche also continues to sell at least 50 percent more at newsstands than in the same period last year.
Three months after the launch of the print subjects with the expectations of various personalities from culture and business for the new Weltwoche, the advertising agency Guye Benker is now launching another campaign with the aim of "anchoring Weltwoche as a cult and status object", as CD André Benker explains.
The new campaign is based on the idea that the new Weltwoche, with its "interesting mix of topicality and surprise", regularly provides exciting and intelligent reading for just such readers. "This fact is taken up in the new campaign and demonstrated with a simple juxtaposition," says Christophe Guye. Six juxtaposition motifs are intended to make it clear to the viewer of the posters and advertisements that Weltwoche readers are the more interesting contemporaries.
The advertising identity should match the visual identity
The subtle "comparative advertising" became very concretely comparative in the opening subject, in that a Facts reader is shown next to a Weltwoche reader in response to the provocative question: "Who would you rather invite to your home?".
"Of course, this was agreed with the Facts publishing management," reveals Guye and confirms that this advertisement was also intended to convey a bit of humor within the industry. However, Christophe Guye does not consider comparative advertising to be frowned upon or even prohibited, "as long as it is not disparaging". However, the subtle approach required for this is very rare. In addition, customers shy away from the risk of having to deal with a potentially unpleasant change in their situation if the competition suddenly starts to fight back.
This is exactly what is currently happening in Germany. Under threat of a fine of a quarter of a million euros, Burger King is no longer allowed to show the commercials developed by Start Advertising in Munich, in which Ronald McDonald "eats out" with relish and humor at the competitor Burger King.
Such cases have not yet occurred in Switzerland because people here are probably "overly decent". When dealing with competitors, people in Switzerland tend to get along well and there is no sporting battle, says Guye.
The new Weltwoche campaign in relation to the current SonntagsZeitung campaign is also not a sporting replica and is therefore purely coincidentally similar. This campaign also uses subtly comparative advertising, for example by comparing heads that are too big and too small with the ideal head of the SonntagsZeitung readership in a three-way comparison. It is clear to everyone what is meant when an egg in an eggcup symbolizes the correct content of the SonntagsZeitung, while a potato in an eggcup stands for the SonntagsBlick or caviar for the NZZ am Sonntag, which is thus classified as elitist.
Under no circumstances should the fact that the person on the right-hand edge of the picture is armed with a Weltwoche be interpreted politically in the new campaign. "It's all to do with the eye movement," laughs Guye. Logos are also placed on the right in correctly designed advertisements.
As far as the styling of the new Weltwoche as a cult object is concerned, the advertisers at Guye Benker want to express that the Weltwoche is to be seen under the arm as a branded article like a watch or the suit of a particular brand.
It was also important for the campaign that the motifs were realized by different photographers who have worked with Weltwoche in the editorial field to date and will continue to do so in the future. In the advertising, the product should be recognizable because the style of the font and the photos is the same as in the advertised magazine. Or to put it more technically: the advertising identity should be derived from the visual identity.
