It’s happened to George Clooney. And to Brad Pitt, too. And to Jake Gyllenhaal and Jude Law as well. There’s hardly a man in Hollywood who hasn’t misplaced his razor at least once. The sad result: they’ve all ended up growing beards. A fate that can befall more than just celebrities.

My father belonged to this breed for years. I remember hairy goodnight kisses, sauce splatters in his beard, and a man who looked 20 years older than he actually was. My husband’s facial hair, too—which rarely came into contact with a razor blade during our trip around the world—didn’t exactly fill me with enthusiasm. Since this is my last «Werbewoche» column anyway, I can confidently come out: I’m afraid I’m actually a “misopogon”—a beard hater, or the female equivalent of that.

I’ve only known for a week, though, just how strong my aversion to unshaven men is. Oblivious to what was to come, I was flipping through the latest issue of the PKZ Group’s customer magazine. Right in the editorial, Olivier Burger spoke of «additional dimensions» with a mysterious smile. It wasn’t until 108 pages later that I realized what he meant: there, a hairy Neanderthal with a grim expression and a tense posture was modeling a suit. After the initial shock, I wondered where the modeling agency had unearthed this well-preserved specimen. So that was the «additional dimension»: an extinct species wearing the latest fashions. Seriously, though: I just can’t wrap my head around the fact that a man—and a model, no less—would pose like that in front of a photographer’s lens.

«Just an isolated incident,» I told myself, and, feeling irritated, tossed the glossy magazine into the recycling bin. I realized just how wrong I was only a few days later. While reading an issue of *Blick am Abend*, I had yet another encounter of the hairy sort. A Taliban member in civilian clothes was modeling for the clothing brand H&M. And—whether by coincidence or design—right next to it was an article about Bin Laden’s traitorous concubine—complete with a picture of the terrorist leader. The headline should have read: Bin Laden Lives! For me, at any rate, that was definitely one beard too many. That’s why I’ll be staying away from fashion magazines and free newspapers from now on. At least until Gillette, Wilkinson Sword, and the like put a stop to this unchecked proliferation in their ads. 

Here's what this is all about: If you look at successful companies—beyond just their product innovations, distribution channels, and financial resources—you'll notice that they all have a creative name, a unique logo design, and aesthetically original and surprising communication, as well as a unique product and packaging design.

My theory: Unsuccessful companies did not seek out the best solution for this crucial aspect. They settled for an inexpensive in-house solution. A company should bring in specialists for a relaunch. This isn’t the easiest or cheapest route, but it accounts for 60 percent of the success.

A few examples, such as FedEx, show that a company’s look and name can have a decisive and positive impact on its image. In the 1980s, FedEx—then still operating under the name Federal Express—produced some of the wittiest TV commercials, which won multiple awards at Cannes. In 1994, the logo underwent a redesign (see image: Did you notice the arrow between the E and the X?). Today, the company has annual revenue of $36 billion and 280,000 employees.

The most interesting example for my theory is Apple Computer. From the very beginning, we saw it as «the new world» in contrast to IBM and Microsoft. The apple—a symbol of Isaac Newton’s proof of gravity—was the origin. Steve Jobs steered Apple toward a simple, monochromatic logo. He brought these technically revolutionary devices to market in streamlined plastic and aluminum casings, turning them into «must-have» designer items. In my opinion, the design language—with its playful and expressive icons—is also an emotional reason to be an Apple fan. Forty years after its founding, Apple generates over 100 billion dollars in revenue, a quarter of which is profit. Nespresso is also a good example of my 60-percent theory. A stylishly designed product, a clever logo, and entertaining communication.

Now I’ll get to my gripe: In my 40 years as an advertiser, I’ve often—and with increasing frequency—seen that advertising managers knew exactly what a promotional ad for a department store, a direct mail piece for a publisher’s products, or the packaging design for a piece of candy should look like. It certainly shouldn’t be clean and minimalist, but rather tacky, overloaded with stickers, featuring a contest, and—if possible—including an instant prize. No one has ever been able to prove to me that this type of advertising is the path to success. Admittedly, I can’t prove conclusively that the opposite approach leads to success either. But FedEx, Apple, and Nespresso have proven it.

Unfortunately, my "Pick of the Week" coincides with my editorial deadline. I'm dreaming of the FCB advancing to the quarterfinals.

Theophil Butz, once a star advertiser (Ringier), now an inspiration, and now also a complainer. «It’s not an easy role, but it’s a necessary one that I take on here every 14 days.» Please send relevant information to [email protected].

 

Every month in 2012, one of the winning designs will be featured on a full page in Playboy—free of charge, of course. The winner for March is a campaign by the Cassens-Copywriter agency for Paul Wirth’s cutlery. The message: Paul Wirth’s knives are so incredibly sharp that even Playboy could take a cue from them.

And this is what the sharp masterpiece looks like—poor little bunny:

 

Benny Goldstein (pictured left) has gained experience and awards at Publicis, Ruf Lanz, Exxtra and TBWA. Sascha Borsai worked at Exxtra, Rod and most recently at McCann Erickson.

Each year, one talented young journalist is given the opportunity to learn the art of investigative journalism and put it into practice at the new investigative desk run by Sonntagszeitung and Le Matin Dimanche in Bern. The 2012 winner is Julian Schmidli. The 26-year-old has drawn attention to himself with outstanding investigative work, as the Sonntagszeitung notes in a press release. This rising talent studied media studies in Basel and recently completed the Master of Arts in Journalism offered by the Maz in cooperation with the Hamburg Media School.
 

While Clear Channel Switzerland generally welcomes the proposals, APG has so far refrained from making a clear statement. At Affichage’s earnings press conference on February 29, *Werbewoche* sought further details from APG’s head of marketing, Markus Ehrle.

WW: Mr. Ehrle, the Price Commissioner is calling for more competition in billboard advertising on public property. What are your thoughts on this?
Markus Ehrle: We take note of the Price Supervisor’s suggestions with interest, but we are generally convinced that competition has worked very well so far in public tenders in Swiss cities and municipalities: The processes and criteria were clear, and even companies from abroad were able to participate. We have been awarded the concessions in each case because we submitted the most compelling bids to the cities as part of these tenders.

Among other things, the Price Commissioner is calling for concessions in larger cities to be divided into lots and put out to bid individually. What is the APG's position on this?
It is unclear what the Price Supervisor means by “lot”; this is not evident from the document at hand. In principle, however, it makes no sense for either the cities or the advertising market to divide up a homogeneous supply of billboard space. This not only leads to lost revenue for the municipalities but also makes it extremely difficult for advertisers to create cohesive campaigns.

The Price Commissioner also wants concession fees that are fixed and not calculated as a percentage of revenue.
This is already the case in practice: Some cities simply award their concessions to the highest bidder, which has both advantages and disadvantages for them. On the one hand, they can count on a fixed revenue stream when budgeting; on the other hand, they cannot benefit when the economy and business are doing well. We ourselves believe it is generally more beneficial for both sides if a portion of the fee is variable.

The Price Supervisor would also like to see shorter award intervals, for example, every three years.
A bidding process is generally very complex, and the effort required on the part of municipalities and providers is considerable. In addition, the services provided by the provider—such as cultural poster campaigns—are very labor-intensive. Shorter contract periods would therefore result in lower fees for municipalities and, conversely, higher prices for advertisers, since investments would be written off within a very short time.
would have to.

The Price Ombudsman further proposes that the infrastructure should be transferred to the municipality upon expiration of the concession.
We have been vehemently opposing this for years. We believe that in a functioning market economy, it is not the role of the local government to maintain or develop advertising media. Today, providers invest heavily in the design of urban furniture and in environmentally optimized products, as well as in the construction and maintenance of the advertising structures. This commitment to quality is, after all, very much in the cities’ best interest. However, all of this would be lost if the advertising structures were owned by the cities.

If a municipality does award its license to only one provider, the Price Commissioner requires that the lowest retail price offered be taken into account as a criterion in the award process.
This is one of the most sensitive issues, because what is the retail price? Here, too, the Price Ombudsman’s proposal offers no answer. There are already many forms of price differentiation today: gross, net, volume discounts, discounts for political campaigns, sales promotions, and so on. Furthermore, the end-customer price depends on inter- and intra-media competition: it matters significantly in which markets one is competing with which other media for advertising revenue. Setting a fixed pricing model would also amount to a distortion of intermedia competition, since no other media (not even those funded by license fees) are subject to such restrictions. For all these reasons, we consider this a problematic demand, especially since we are convinced that competition is very much alive and that it is not the state’s role to regulate prices in a competitive market.

In Geneva, however, APG raised its prices in 2011, shortly after securing the new exclusive contract. That’s proof that competition isn’t really working.
No. Under the new contract, the City of Geneva significantly reduced the available advertising space—by 10 to 30 percent, depending on the category and format. We have optimized our advertising offerings accordingly. It’s only natural to adjust our pricing to reflect these changes. In addition, we now offer a 10 percent early-booking discount. It’s also important to note that we haven’t adjusted our prices anywhere in Switzerland since 2008—despite population growth and a proven increase in service volume.

Either way—all things considered—the Price Supervisor’s requirements correspond quite closely to the procedure that the City of Zurich carried out in 2006, in which APG also successfully participated: At that time, APG won twelve city of Zurich lots, while four went to Clear Channel Switzerland (CCS). So were the last five years in Zurich really that bad?
Zurich has its own history, particularly when it comes to lottery tickets. Moreover, the Zurich model has not caught on in Switzerland. What matters, however, is that the rules of the game both comply with competition law and meet market needs. Both conditions are met in Switzerland today, so no new rules are necessary. On the other hand, developments in Germany should give us pause for thought: There, Berlin Brandenburg Airport issued a call for bids—and all outdoor advertising companies declined to participate due to economically unviable terms; the operator now has nothing at all.

However, if the Price Watchdog model were applied across the board, it would also benefit APG: for example, at Zurich Airport, which has been repeatedly awarding its billboard concession to CCS behind the scenes for years—something APG has already criticized.
If a call for proposals were to be issued there, we would of course be happy to participate. We are also convinced that we could contribute significantly to positive development.

Interview: Markus Knöpfli
 

The highlight: the message is placed exactly where the swimmers orient themselves to swim exactly straight ahead - on the bottom markings of the swimming lane. The headline on it reads: So you always stay in lane. Audi lane Assist.

Responsible at Audi Switzerland: Erich Hunold (Head of Marketing Audi Switzerland), Barbara Wernli (Head of Advertising Audi Switzerland). Responsible at Exxtra: Markus Gut (CCO), Dominik Oberwiler, Martin Stulz (CD), Lukas Wietlisbach (AD), Sven Rufer (text), Susan Baumgartner, Tom Hubli (consulting), Markenfilm (film production) and Ian Thorbe (swimmer).

The prevention campaign, which aims to raise awareness among motorcyclists and drivers about the dangers of fatigue, launched a year ago with an introductory message: A 15-minute power nap can save lives in an emergency. Gilles Aeby at the Numéro 10 agency in Bern coined the new term «turbo sleep» for this «miracle cure.» In its first phase, the campaign raised awareness among the general public about the phenomenon and ways to combat fatigue. In a second phase, the campaign will now target older drivers as well as frequent drivers—that is, professional drivers. The creative team at Numéro 10 is using a small «fake» to achieve this. In a «making-of» film that looks completely authentic, the advertisers show how the idea of «turbo sleep,» launched in Switzerland, caused a sensation worldwide and was featured in the news on TV stations from America to the Far North to Asia. Of course, the sensational news reports are staged and were all filmed in the same studio for the commercial. What is real, however, is the scientifically proven message that 15 minutes of sleep can have a truly decisive impact on our bodies. The film captures the audience’s attention by creating a moment of confusion: Is this already the «Tagesschau» news program, or are we still watching the commercial break? To maximize impact, the spots have been placed as close as possible to these actual news broadcasts. Supporting measures include posters and a «doctor’s kit,» which provides additional tips on the topic in waiting rooms. pan

Like the brand, its appearance should also be classic and consistent, the agency said in a statement. In order to continue to set itself apart from the world of fast-moving trends, Modissa is also building on its motto this season: "Fashion instead of lifestyle". After all, women in their mid-thirties don't change their tastes with every trend, but look for the style of great fashion. Modissa is all about the classic world of fashion. Her customers value style advice, attitude and quality. The campaign continues to express this through large, striking motifs. Key visuals without much advertising text. Held together by the claim: "Modissa. I know what I want."

Responsible at Modissa: Samuel Baumberger (Advertising Manager). Responsible at Cavegnwerbung: Markus Cavegn (AD), Markus Rottmann (text), Susanne Marty (consulting), Michaela Kubern, Stefanie Wolf (graphics), Günther Kathrein (photography), Daniel Belet (image processing). Media agency: JBW Media.

A punched-out 30, which offers a view of old Spick magazines, adorns the cover of the current anniversary issue. "Are we that old already?" asks Flitz Flosch, the frog with the small speech impediment who, together with Karl Kiebitz, has been guiding the magazine as a "certified editorial consultant" since its founding. The children's magazine wants to be cheeky, creative, different - in short, "spicky. It wants to make people "smart" and promote the reading skills of children and young people, but at the same time it also wants to entertain them - with reports on animals, technology, sports, nature and the environment, with jokes, puzzles and comics.

With a circulation of 35'000 copies, Spick is still the number 1 among Swiss children's and youth magazines. However, much has changed since its launch: The design has been adapted to the zeitgeist, new sections such as "Total Digital" have been added, readers are now kept up to date via the website Spick.ch including a newsletter, and on the Spick blog the community discusses topics such as falling in love, climate protection, nuclear power or apps. Since Künzler Bachmann Verlag started publishing Spick, the school magazine is no longer collected by stapling, but stored in a box.

The range of services offered by Spick is constantly being expanded. In collaboration with the Lia Rumantscha language organization and subsidized by the Canton of Graubünden's language promotion program, the magazine has also been published in Romansh since last September on a trial basis for one year. "We got off to a good start and are pretty sure that we can continue the project," says publishing director Roger Hartmann, commenting on the launch. Since last year, there has also been the "Best of Spick," a free extra issue that is always included in the November edition and is available at newsstands. Furthermore, Spick publishes summer and winter guides twice a year. This year, in cooperation with Sarasani, the member newspaper of the Swiss Scout Movement and the SAC huts, a summer guide of around 72 pages is being produced, a "survival booklet" that focuses on typical scouting topics.

To celebrate the anniversary year in a fitting manner, additional promotions are planned for 2012: In addition to major competitions, games and free apps will be available for download. For example, the app "Witzemixer" (Joke Mixer), which presents the readers' jokes to children in a new form. Parents, grandparents, godparents and godmothers can congratulate the magazine via the Facebook page, and a reading competition has been launched to arouse interest in the children's magazine in schools. 

In addition, a new launch is planned for this spring. With "Big Spick - das Vätermagazin ", Künzler Bachmann Verlag is now targeting the fathers of Spick readers. "Extra for big men with a certain longing for the child in the man," say the publishers. It will be launched in May with a print run of a good 53,000 copies, and the second issue is planned for November.

While advertisements are planned for Big Spick, one looks in vain for them in the children's magazine. However, the Spick does have advertising in the form of banner ads on the website. And for contests and anniversary campaigns, the publisher works with sponsors. For example, a new online game is available under the name Jamadu, Coop's own brand for children. "The cooperation with Jamadu exists because we think it makes sense for kids to eat healthy," Hartmann explains. "The label is a good thing." The publisher gives its cooperation partners a platform; in return, they put on the Spick and the autoguides or present the Spick logo. From a financial point of view, however, advertising and sponsoring have little impact. Most of the revenue, around 90 percent, comes from subscription sales.

Advertising on its own behalf, on the other hand, is central to the Spick; after all, as readers outgrow the target group, the entire readership changes every few years. "The strong brand helps us find new readers," says Hartmann. "But of course we have to be very involved in marketing." To that end, the publisher works with various agencies. The agency Lasso Consulting, which specializes in youth marketing, is on its side as a consultant. The Spick also receives support from the St. Gallen agency Live Minded. The results of the collaboration will be seen as early as April. Then the Spick will draw attention to the anniversary with a TV commercial.

The Interview with Editor-in-Chief Hans Schödel read in the current print edition of Werbewoche.  

Isabel Imper

Spick subscriptions for Werbewoche readers
To mark the anniversary, Werbewoche is giving away five annual subscriptions to the Spick. To enter the drawing, send an email to [email protected] with the following information: Recipient's address and age of child. The deadline for entries is March 30. 

The head of the Spick editorial team, with Editor-in-Chief Hans Schödel, is based in Nuremberg. Since the then owner Tamedia outsourced the Spick editorial team in 2003, Sailer-Verlag, which publishes various children's magazines and teaching materials, has been responsible for the editorial content. It works with a large network of freelancers, most of whom are in Switzerland. At Künzler Bachmann Verlag in St. Gallen, which took over the children's magazine from Tamedia in 2005, two permanently employed editors work for the Spick. Künzler Bachmann Verlag is also responsible for advertising, printing and subscription management. 

"Mission all-round protection" has been Groupe Mutuel's communication approach since last year, the agency writes in a press release. After JWT/Fabrikant took over the Campaign The company's first product, Sanatel, has now been followed by a second coup: Bonus supplementary health insurance is another product that offers every insured person the best individual protection and includes not only convincing benefits but also a sophisticated premium system. What sounds rather complicated on paper is summed up by JWT/Fabrikant in a TV commercial and an advertisement.

Los Angeles-based director Kai Sehr was engaged to realize the commercial and the images for the advertisements were shot by cameraman/photographer Kalle Dobrick. Robbie Müller is responsible for the 3D composition of Groupe Mutuel's Swiss Power Women.

The spot will be on air from March 18 and the ads will be seen in the daily/Sunday press and in magazines.

> To the spot

Responsible at Groupe Mutuel: Olivier Revaz (Head of Marketing), Serge Grand (Head of Advertising). Responsible at JWT/Fabrikant: Remy Fabrikant (overall responsibility) , Andreas Mädler (CD) , Isabelle Bischoff (AD) , Cagdas Cakmaktas (graphics), David Keller (text) , Monica Miraldi, Katrin Heinrichs (consulting) , Rainer Bühler (strategy) , David Guntern (DTP), Lamar Hawkins (agency producer), Robbie Müller (3D animator), Pablo Kirschke (3D support), Felix Schregenberger (image editing), Kai Sehr (director), Kalle Dobrick (DoP/photo), Michael Kindermann/Snap Film (production), Roger Koller/Tobias Roesli/online (post-production).

 

The Interactive Advertising Bureau (IAB) Switzerland, together with its partners Blick.ch, Goldbach Audience, Google, Microsoft Advertising, NZZ, Publimedia, Swisscom, Tamedia, and Trade Doubler, is launching a new training course in Switzerland. «With this new training initiative, we are responding to the significant demand for new talent in the Swiss online and digital markets. I am very pleased that we can count on such strong support from our partners. Through their commitment, they are helping ensure that this training initiative will optimally meet market needs,» says Ueli Weber, President of IAB Switzerland, with conviction. The «Digital Marketing Course for Beginners» is designed to teach participants the current fundamentals of digital marketing in a simple and understandable way. It covers all relevant areas, such as display advertising, AdWords campaigns, mobile marketing, video, online media planning, social media, and performance marketing. The course consists of seven modules, each lasting a full day. The first course begins in April.