The agency at the airport realizes the new campaign for Rokker jeans. At first glance, they look like any other pair of jeans: stylish and comfortable, according to the agency. On closer inspection, however, it becomes clear that the fabric is made of high-tech material on the inside and therefore offers motorcyclists much greater protection than leather pants. The agency let the bikers experience for themselves just how painful abrasions can be. In selected biker pubs, it placed printed placemats and napkins made of sandpaper with references to the Rokkersite.
In addition to napkins and placemats made of sandpaper, bars and counters covered with sandpaper were also used for this campaign.
Responsible at The Rokker Company, Rebstein: Michael Kuratli (owner) and Kai Glatt (owner). Responsible at Agentur am Flughafen AG, Altenrein: René Eugstair (CD), Dominique Rutishauser (AD), Benita Sutter (graphics), Miriam Egli (consulting).

Next Friday, Radio1 will be reporting live from Zurich's Langstrasse from midday until midnight. In addition to the hourly reports by Radio1 reporters, local residents, business people, police officers and scene experts will also have their say. Mobile and fixed locations have been set up for this purpose.
With this 12-hour report, the station wanted to provide snapshots of a neighborhood that has changed significantly in recent years as a result of the city's gentrification policy, Radio1 said in a press release. In future, more 12-hour reports will be included in the program, as announced by editorial director Sandro Brotz.

Swiss Television must hand over CHF 341,000 to Bakom for unauthorized sponsorship advertising for the TCS. The Federal Administrative Court has rejected a corresponding appeal by SRG. The Touring Club Switzerland (TCS) had sponsored the travel program "Einfachluxuriös" from 2006 and the weather forecast "Meteo" from 2007. In February 2008, OFCOM came to the conclusion that SRG had made inadmissible advertising statements in favor of the sponsor and punished the violation of the law by withdrawing the corresponding income.
SRG must have been aware of the inadmissibility of the statements, which is why it can be accused of inexcusable misconduct in this respect. The seriousness of the infringement committed justified the confiscation without further ado. All the more so as SRG is a "repeat offender" and is either unwilling or unable to comply with the legal requirements.

The end for one of the most pompous media projects of recent years: Condé Nast Germany is discontinuing its people title Vanity Fair with immediate effect. The current issue will be the last.
The astonishing thing: As recently as December, publisher Jonathan Newhouse had given a guarantee for the German edition. "The world is changing rapidly and in a way that no one can really be prepared for," Newhouse now explains. The global economic crisis is responsible. "In a normal economic climate, we would have bravely stuck with Vanity Fair". In the current bleak economic climate, however, this is impossible.
According to Spiegel Online, the news of the closure hit the paper's Berlin editorial team like a bombshell. Publishing director Newhouse announced the bad news personally. Several editors told Spiegel that no one had expected Vanity Fair to be taken off the market at this point. The decision came as a surprise to staff, especially as Newhouse had only recently given the aforementioned guarantee.
Vanity Fair was launched in February 2007 with a circulation of 500,000 copies. The target group at the time was "Germany's new performance elite". At around 50 million euros, it was the largest investment outside the USA by the Condé Nast media company (Vogue, GQ, The New Yorker) and probably the most spectacular start-up on the German magazine market in recent years.
Despite several changes of course, the magazine never managed to reach the circulation and reach level that would have been necessary for success. Officially, the weekly magazine's last paid circulation was 196,727 copies. However, with 38,000 subscriptions and 75,800 copies in single copy sales, the title was treading water.

Before Geigy merged with Ciba and the two merged with Sandoz to form Novartis, the Basel-based chemical company had long had a surprising branding. "Geigy researches for tomorrow" - the former Basel-based chemical company also lived up to this future-oriented motto in its communications. The advertising department of the chemical company became famous for its "Geigy style". At the time, the studio at the Basel headquarters was regarded as one of the most important talent factories for Swiss graphic design. It also had good contacts with the Basel General Vocational School, the Association of Swiss Graphic Designers and the Swiss Advertising Association.
Roland Aeschlimann, Karl Gerstner, Jörg Hamburger, Steff Geissbühler, Andreas His, Toshihiro Katayama and Nelly Rudin, among others, worked at Geigy under the long-standing direction of Max Schmid. Freelance designers such as Michael Engelmann, Gottfried Honegger, Armin Hofmann, Herbert Leupin, Warja Lavater, Numa Rick and Niklaus Stoecklin were also commissioned. In addition to René Groebli and Peter Hemann, Jakob Tuggener and René Burri as well as the architectural photographer Ezra Stoller also worked as photographers.
When Markus Kutter had to organize Geigy's 200th anniversary as an employee in 1958 and teamed up with Karl Gerstner, the foundations were laid for what would later become GGK.
In the 1960s, the Basel studio also followed the development of the studios of its subsidiaries in the USA and Great Britain and thus increasingly focused on advertising. With products sold internationally, Geigy and advertising from Switzerland made a significant contribution to the worldwide spread of the "Swiss style" in the graphics scene in the 1950s and 1960s.
The exhibition at the Zurich Museum of Design is the first comprehensive presentation of this important Swiss contribution to design history. The exhibition "Good Design, Good Business" shows Swiss graphics and advertising produced by J. R. Geigy's advertising department between 1940 and 1970. More than 300 exhibits can be seen in the exhibition. On display are posters, advertisements, advertising cards, brochures, magazines and books, as well as records, promotional gifts and packaging.
The exhibition will be on display until May 24. On March 5, Jean Etienne Aebi, Ruedi Baur and Stefan Haas will discuss "Good Design = Good Business? - Design as an advertising factor" in a panel discussion. On May 5, Richard Hollis, Manuel Krebs and Lars Müller will debate "Swiss Style forever? - Swiss
Graphics today".
Andreas Panzeri

Poster of the current exhibition.

Anonymous. Shop window poster, around 1960.

Max Schmid, Peter Hemann, photo for a book 1955.

Andres Janser, Barbara Junod, book cover 2009.

According to SDA, the French-speaking Swiss television station TSR has won the legal tug-of-war with the French private broadcaster M6. According to the statement, M6 broadcast films and series in French-speaking Switzerland for which TSR had exclusive rights.
M6 has been broadcasting with two signals in parts of French-speaking Switzerland since fall 2001. The second signal broadcasts the Swiss advertising windows. In TSR's view, M6 is infringing copyright with these advertising blocks aimed at the Swiss market and is also engaging in unfair competition.
In particular, M6 is thus exploiting the exclusive broadcasting rights acquired by TSR for Switzerland for various films and series. As TSR announced on Wednesday, the Court of Appeal of the Canton of Fribourg ruled that M6 had infringed copyrights and was engaging in unfair competition.

People actually perceive birdsong as something beautiful and calming. When we hear the sounds of birds, we feel closer to nature. For some time now, however, people have been tweeting mainly in offices and via mobile communication devices. Micro-blogging or "tweeting" is the name of the new addiction. However, the short messages spread via the social network Twitter are not always of a cheerful nature. Such as the war currently raging between celebrity blogger Perez Hilton and British pop singer Lily Allen. Hilton had called on his Twitter friends to use Twitter to campaign for him to make a guest appearance in Allen's next video clip. The singer did not find this amusing at all. "Sorry, but we've already cast someone else in the role of the envious faggot," she hissed at him, before getting even more crude. Hilton will be fine: He will have no shortage of readers in the near future. But more serious contemporaries also spend their time on the ultra-fast network. The service is now so widespread that more than ten percent of members of the German Bundestag and high-ranking American politicians let the whole world know about their current activities several times a day. US National Security Advisor Peter Hoekstra recently even revealed a highly secretive trip to Iraq via Twitter. "Just loaded in Baghdad," the US diplomat announced via microblog.

Lowe has launched a campaign for the new BMW 3 Series. Together with BMW (Switzerland), the agency, which is part of the Draftfcb/Lowe Group, has adapted an international campaign specifically for the Swiss market. A significant part of the national campaign is BMW Efficient Dynamics, a package for lower emissions and increased driving performance.
The advertisements for the BMW 3 Series have been widely distributed in the Swiss daily and Sunday press as well as in selected trade magazines since the beginning of February.
Responsible at BMW Switzerland: Roger Calisi (Head of Marketing Communication). Responsible at Lowe: Florian Birkner (CD), Urs Hartmann (AD), Marcel Elsener (text), Rolf Jeger, Alessandra Ira, Christina Koch (consulting), Jasmin Keiser (DTP).

Futurecom for Baselworld
Baselworld is the world's largest and most important event for the watch and jewelry industry. In 2008, over 2,000 exhibitors presented their new products to around 100,000 visitors. 2981 media representatives reported from all over the world. Following an agency evaluation, the interactive agency Futurecom from the Y&R Group is now working for the world fair.
Metzgerlehner for Lucerne
Metzgerlehner Worldwide Partners has made a successful start to the new advertising year by winning the pitch for Emmi's Luzerner brand. The creative minds from Erlenbach are now responsible for advertising Luzerner Rahmkäs.
Cornèr Bank for cR
For five years, cR Basel has been the lead agency for Cornèrcard, the credit card company of Cornèr Bank. In a pitch, the Basel-based advertising agency has now also won the mandate for bank communications.

A dumping of sheets at the Berner Zeitung - this was the headline in the last issue of Werbewoche. The starting point was the fact that the Berner Zeitung (BZ) distributes almost 18,000 heavily discounted copies per issue in the city of Berne, while the federal government only distributes 2,424 copies in the same way. The high additional circulation of the BZ is not in itself objectionable, as it is openly reported in Wemf's 2008 circulation bulletin under the heading "Other sales". In view of the discussion about the future of the Bund, however, the different distribution strategies of the same publishing house seem strange, as one gets the impression that Espace Media has promoted its baby BZ more in terms of marketing than the adopted child Bund.
Be that as it may, the BZ circulation is currently being analyzed. Werbewoche is now turning its attention to other titles with a high proportion of "other sales" (SV) circulation. This category includes that part of the circulation for which, according to the Wemf definition, "less than 50 percent of the full subscription or retail price is paid". These are often copies that are distributed to restaurants, schools and libraries. However, this also includes certain trial subscriptions, target sales and promotional copies.
Interestingly, publishers make very different use of the opportunity to boost their paid circulation with copies sold at the lowest price. The Neue Luzerner Zeitung, for example, has only one copy under the heading "Other sales" in 2008, while the Matin Dimanche has 50,820 SV copies, a quarter of its circulation. The Sunday title thus occupies the top spot among Swiss daily newspapers. With one exception: the BZ split Solothurner Tagblatt has an even higher share of SV at 40.5 percent, while the BZ as a whole has 16.5 percent. This puts it in third place after Matin Dimanche and Matin Semaine. Above all, however, the gap to the next title is huge: the Tages-Anzeiger with a mere 4.3 percent SV share. But the majority of daily newspapers are below one percent.
Some SV shares are significantly higher in the consumer, women's and business titles - in the case of the Business Guide, for example, this circulation share accounts for a full 63.9%. Bolero (44.7 percent) and TV8 (28.9 percent) follow at some distance, as do Fémina, Télé Top Matin, SI Style and L'Hebdo, which account for between 20 and 25 percent. What is striking is that there are five women's and four program titles in the top twelve.
But why do these titles distribute such a high proportion of their circulation at a greatly reduced price or almost for free? And on which channels - apart from those mentioned above?
With the English-language Business Guide, Basel-based publisher Dominique Hiltbrunner offers internationally active companies annual subscriptions in multipacks and at preferential conditions - for their employees. The company pays for the subscriptions in the first year, and recipients are contacted personally when they renew their subscription. "We push this channel because subscribers are required to make a minimum commitment - one that is greater than if we were to give the title away for free," says Hiltbrunner. The subsequent conversion rate to full subscriptions is around 60 percent.
The situation is quite different for the Edipresse paid-for titles Matin Dimanche and Matin Semaine. These are distributed in open boxes, which is why some copies are stolen and others only partially paid for, explains Théo Bouchat, CEO of Edipresse Switzerland. The result: "Every copy stolen in whole or in part falls under the undifferentiated category 'more than 50 percent discount' in the Wemf statistics," says Bouchat. Of course, this also applies to the Matin supplements Fémina and Télé Top Matin. "Although stolen copies are also read," he quickly adds. Nevertheless, Edipresse is currently considering doing without open boxes for paid newspapers. Bouchat: "The decision will be made this year." But why is the SV share of TV Guide so much lower? Because it is included with 24 Heures and Tribune de Genève, which are primarily distributed via subscriptions and newsstands, says the CEO.
The situation is quite different for Blick, NZZ, NZZ am Sonntag (NZZaS) and Annabelle: Here, the majority of SV copies are purchased from airlines at preferential prices and distributed to passengers free of charge. In the case of NZZ and NZZaS, some of the SV copies also come from combined subscription campaigns of the two titles. Annabelle, on the other hand, also supplies private clinics and reading circles. Tamedia spokesperson Christoph Zimmer emphasizes that the SV share of Annabelle is "significantly lower than that of other Swiss women's magazines".
Ringier spokesman Stefan Hackh attributes the astonishingly high share of SV at Bolero primarily to supplying "many boutiques". The same applies to SI Style, which still carries introductory and combined subscriptions (with Schweizer Illustrierte) from its launch phase in 2006. The SV share of TVStar even has "historical" roots. This is because the title, which is also distributed in the "partner distribution system" together with daily newspapers, used to belong to Basler Zeitung Medien. "BaZ still buys many copies from us at preferential conditions and uses them to advertise for subscribers," writes Jörg Tobuschat, Publishing Director TV Magazines at Axel Springer Switzerland. The same seems to be the case with Ringier's TV8, which according to Stefan Hackh is distributed on Saturdays with Le Temps and La Liberté. At Illustré and L'Hebdo as well as Tamedia's Tages-Anzeiger, the SV shares are mainly due to trial subscriptions. Christoph Zimmer: "In a highly competitive market like Zurich with a wide range of media, the demand for trial subscriptions is high. The Tages-Anzeiger meets this demand with its offer." By which he is probably paraphrasing Tamedia's hope that the regional split offensive will finally take effect. A piquant fact: the Zürcher LandZeitung manages with a 14 times lower SV share (only 0.3 percent).
Markus Knöpfli

Table1: Daily newspapers with particularly high circulation share "other sales" 2008
Table2: Daily newspapers with particularly high circulation share "other sales" 2008

According to the motto "Safety is everyone's business," "The Expert 3" analyzes real-life fates of railroad employees who have suffered massive damage or even death in an accident. In the style of an action-packed movie, the fatal scenes have been re-enacted with actors. For reasons of piety, however, not at original locations. The third episode of the series, which has already won the Edi film prize, also follows Michel Girardin's concept. With his Creative Consulting, he regularly realizes prevention campaigns for the SBB. The author has now teamed up with Stephan Christen and his Addictive. Producer Christen was a consultant at Bosch & Butz before he founded Addictive ten years ago. In addition to countless commercials, he also sees opportunities in the future for a newly discovered corporate film "of the qualitatively upscale kind".
> About the film
The opener of this first 12-minute film was produced with a lot of stunt know-how, but without a double bottom, i.e. 3D. In scenes like this and others, a total of two out of twelve cars have been scrapped in the "Expert". As in the previous films, the internationally renowned Swiss stuntman Oliver Keller was engaged as the main actor and presenter. Further excitement is provided by the music of Moritz Schneider. For the pictures, cameraman Holger Diener relied on two REDs and "pushed them to the limit".
The favorite toys of the creative tinkerers enabled images "in cinema quality" - despite the short film budget. Things got technically tricky for the highly sensitive RED when, during an accident scene in a tunnel, the locomotive's strong electrical radiation temporarily provoked a "pretty creative life of its own" in the images. For the spectacular shots, the team had to use the few hours without rail traffic between midnight and early morning.
Although everything was secured, of course, it still seemed "very scary and dramatic" to Stephan Christen how the cameraman and an actor had to lie down under the passing train. The film was directed by Mike Huber, known from the directing pool at Condor Commercials. He has already directed the first two episodes of "The Expert." This kind of action suits the NY University graduate. Mike Huber also recently directed "Heldin der Lüfte" with Melanie Winiger or the thriller "Liebe und Wahn". Huber is also a founding partner of Boutic, a Zurich-based motion design studio.
With 3,000 copies, the "expert" is now being used by SBB in various workshops.
Andreas Panzeri

Producer Stephan Christen (l.) teamed up with director Mike Huber for the first time.

In the prevention film "SBB - the expert" production Addictive used twelve cars and scrapped two of them.

The Cosmic Bern agency has developed a tool to make it easier for users to choose an agency. On Agentur-entscheider.ch can be selected according to various criteria such as budget, target group or marketing instrument. The web mechanism then calculates the appropriate agency and presents it to the site visitor.
The idea offers a creative change in agency self-promotion, according to a press release on Wednesday. The agency decision-maker first appeared in the ADC's special publication Brisanz in February 2009. Since then, it has attracted numerous interested parties to the online version of the machine. It goes without saying which agency the decision-maker then selects based on the respective entries.
Responsible at Cosmic Werbeagentur Bern AG BSW: Thom Pfister (CD), Julien Junghäni (AD), Roland Zenger (graphics), Louis Werder, Marc Zehnhäusern, Vasco Bickel, André Hermetschweiler (mechanical engineers), Simon Schatzmann (head of consulting), Isabella Jungo/Antonia Bekiaris (text), David Wenz sushie.net, (programming), Fabian Häfeli (photos).