Summer break

Dear Readers, With this double issue, *Werbewoche* is taking a break for the summer. The next issue will be published on August 14. The publisher and editorial team wish everyone a wonderful summer. For the latest daily updates on G

Dear readers, with this double issue, Advertising Week is saying goodbye for the summer vacations. The next issue will be published on August 14. The publisher and editorial team wish you all a wonderful summer. As usual, our newsmail at www.werbewoche.ch/newsmail will keep you up to date with the day's events

The Sinus Milieus of Switzerland I

Market Research: At the initiative of Publisuisse, the Sinus-Milieus were surveyed for the first time in Switzerland in 2002. This new planning tool will be available to marketing and communications professionals starting this fall.

Market research On the initiative of Publisuisse, the Sinus-Milieus were surveyed in Switzerland for the first time in 2002. The Sinus-Milieus have been used successfully for over 20 years as an instrument for determining target groups not only in Germany, but also in Austria, France, Great Britain, Italy, Spain, most Eastern European countries and North America. On the initiative of Publisuisse, the Sinus-Milieus were also surveyed for Switzerland for the first time last year (see also WW 24/03). The SRG-SSR research service, Publica Data AG, Credit Suisse and the Heidelberg-based Sinus Sociovision GmbH institute also took part in the project, which identified ten different milieus for Switzerland. These target group segments are each characterized by very different combinations of personal values, attitudes, leisure activities and everyday aesthetics. The Sinus-Milieus will be available to marketing and communication managers from the fall. In this and the next issue, Werbewoche describes the characteristics of the milieus, what characterizes their everyday lives and how they differ.
Part 1 of this article describes the groups of the Traditional-Bourgeois and the Frugal-Traditional (the traditional milieus) as well as the Established, the Postmaterialists and the Modern Performers (the leading social milieus).
Part 2 (WW 26) will be devoted to the milieus of the status-oriented, middle-class and consumer-oriented workers (the so-called mainstream milieus) as well as the experimentalists and escapists (the unconventional, young milieus).
Kerstin Schoegel

AIS is not allowed in Cinema

Advertising expenditure statistics Wemf will be soliciting customers for its Advertising Index Switzerland from September onwards - but for the time being there is no data at all for cinema and only global data for television.

Advertising expenditure statistics From September, Wemf will be courting customers for its Advertising Index Switzerland - but for the time being, there will be no data at all for cinema and only global data for television.The race between Wemf and Media Focus for the better advertising expenditure statistics is entering the decisive phase. After some delays in the timetable, Wemf presented the framework for its new Advertising Index Switzerland (AIS) last Tuesday.Unlike Media Focus (MF), AIS collects the invoiced gross expenditures. These are supplied directly by the participating media. AIS uses the same system as its competitors: newspapers, magazines, trade journals, TV, radio, billboards, teletext and online advertising are reported. Contrary to earlier announcements, however, the data is published monthly and not weekly.
The medium of cinema will be missed entirely. Hans-Jürg Gränicher, who heads the three-person team at Wemf, explains this blemish with "recording criteria that only take into account billed advertising placements, but not free space and free placements. Discussions with cinema marketers have shown this separation to be unworkable, he said. "One hope remains - should the cinema marketer Mediavision in western Switzerland give in after all, this could also persuade Cinecom to join in."
More serious than the absence of cinema, however, is the second flaw: In television, AIS will only show global data. This is in the categories "SRG stations," "Swiss advertising windows" and "Regional private stations. Data broken down to the individual stations is not available. Similar to cinema, the recording criteria would have led to this number blackout. "The problem lies with the Swiss advertising windows, which have a hard time disclosing their billed gross revenues," Gränicher explains.
Detailed data is missingFor media agencies and other industry players who want to use AIS, however, the lack of individual station data severely limits its utility. Urs Schneider, owner of the Zurich agency Mediaschneider AG, attaches importance to having the most detailed data possible for television, as has long been the case with MF. Schneider, on the other hand, can live well with the absence of cinema as a medium. "With advertising sales of only 35 to 40 million Swiss francs per year, this medium is marginal - unless you have a cigarette manufacturer as a customer."
While AIS is incomplete for TV and cinema, the new statistics for print media are all the more precise. All advertisements with a size of 500 mm or more, including the products advertised, are recorded. This also includes "jobs," "real estate," and "classified ads. These are each shown as a single total per title and day. Particularly important: AIS also records loose brochure inserts, which are only partially counted by MF, in addition to the bound inserts.
According to Gränicher, there will be a total of around 170 titles in the print media - at MF, there are almost twice as many at 331. The print titles were separated into A and B media according to their circulation, with the latter having second priority at AIS. "This procedure does not detract from the informative value of our statistics, because the 100 largest titles alone account for 85 percent of advertising spending. If you take the 150 biggest, you get 90 percent," says Gränicher.
The new online statistics will be fully usable in 2004 - including a comparison with the previous year. A test run together with publishers, media agencies and major advertising clients will start as early as July. Participants will be invited to provide assessments and make requests for changes. Together with this information, the statistics are to be given the finishing touches. Things will start getting serious in September - that's when AIS wants to ramp up customer advertising.
AIS earlier than Media FocusThe trump cards that AIS wants to play against Media Focus concern the acquisition quality in general (actual advertising effort per client), the price and the publication date of the data. The costs for clients would only be between 50 and 60 percent of what Media Focus charges, according to Gränicher. And: AIS is aiming for "the 15th of the following month" as the date for publishing the data - a few days earlier than Media Focus, which previously published around the 23rd of the following month. However, this is not a sustainable lead, as competitors are also working to move up their publication dates. "We want to be a good week faster," explains MF Managing Director Lukas Zihlmann. Nevertheless, Gränicher remains optimistic: "The statistics are new - so curiosity will certainly be high."
What moviegoers get to see in terms of advertising remains a mystery to media planners.

Media Focus also behind

After Wemf announced its new statistics in July 2002, Media Focus (MF) also set about making its own offering watertight against the emerging new competition (WW 44/ 02). In addition to more powerful analysis software, new usage variants and, in some cases, shorter publication cycles were promised. MF customers, for example, will be able to choose between three versions of data access: An expert solution (for daily intensive users), a standard variant (corresponds to the current offer) and a light version (cheapest variant). In addition, MF held out the prospect of shorter publication cycles in some cases: for TV and a limited range of daily newspapers (35 largest titles), there will be a switch to weekly data delivery.
Actually, one wanted to use the expanded possibilities and the
new evaluation software
as early as this summer, but this has not yet happened. The launch has been postponed until the beginning of 2004, explains MF Managing Director Lukas Zihlmann, "because programming the new software takes a bit more time than
planned." (dse)
Daniel Schifferle

The modern performers

Those who are experience- and achievement-oriented strive for autonomy and self-actualization. They associate professional success with living life to the fullest, and they are early adopters of new technology.

The experience and performance-oriented strive for autonomy and self-realization. They combine professional success with an intense life and are early adopters of technological innovations. modern performers describe a new, young and performance-oriented generation that strives for autonomy and self-realization. Modern performers are strongly materialistic. They seek advancement, the combination of professional success and an intense life. However, the life plans of modern performers are not linear: they consistently seize all opportunities that present themselves and make the most of them. In both their professional and private lives, this segment strives for the widest possible range of experiences. This is why globalization and the accompanying social changes are seen as an opportunity. Modern Performers have a close relationship with new media, and this milieu plays a pioneering role in the use of innovative products and new technological developments. Modern performers strive for an exclusive but unconventional lifestyle in all areas. In their leisure time, they seek a balance to their above-average commitment in their professional lives. Visits to discotheques and clubs, video games, but also physical activity in ball sports such as football or handball as well as skiing or going to the gym are among the most popular leisure activities.
Modern performers make up ten percent of the Swiss consumer potential* (approx. 6,100,000 people); this milieu is mainly found in German-speaking and French-speaking Switzerland, but five percent of respondents in Ticino also count as modern performers. In a comparison of milieus, this segment is the youngest: the main age group is under thirty. Modern performers are predominantly unmarried (64 %) and predominantly male. Medium and high educational qualifications dominate, and a large proportion of the segment is still in education (26 %). The modern performers include freelancers, employees and skilled workers. If personal income is already available, it is over CHF 4000.

Much new in the West

Ringier’s strategic about-face in French-speaking Switzerland raises questions: Was dimanche.ch sacrificed for the alliance with Edipresse? And what potential synergies does the new partnership hold?

Publishers Ringier's strategic U-turn in French-speaking Switzerland raises questions: Has dimanche.ch been sacrificed to the alliance with Edipresse? And what synergy potential does the new liaison harbor? dimanche.ch's own obituary, with which the liquidated editorial team bid farewell to its readers (120000 at last count) last Sunday, leaves nothing to be desired in terms of clarity. In addition to denouncing the "brutalité des stratégies d'éditeurs", it also criticizes their cyclical lack of courage when it comes to up-and-coming new launches.
When asked, Martin Werfeli showed understanding for this "somewhat shrill tone". At the same time, however, the Ringier CEO emphasizes that the ten million francs loss reported by (former) Editor-in-Chief Daniel Pillard, which Ringier Romandie is said to have made with dimanche.ch since the end of 1999, is "completely wrong" (i.e. far too low).
Werfeli vigorously denies the assumption that the discontinuation of the product with the programmatic "Dot" in the title was Ringier's last portfolio adjustment in the New Economy sector. "Dimanche.ch was not a child of the Internet boom, but a brilliantly produced, unfortunately commercially hapless Sunday newspaper."
The Group CEO also rejects the even more obvious suspicion that the 25-strong workforce had been used as a mere pawn in the strategic alliance with Edipresse. The increase in the Le Temps stake from nine to 41 percent, which is still subject to approval by the Competition Commission - and thus the same as Edipresse - has "nothing, absolutely nothing" to do with the Sunday newspaper market in French-speaking Switzerland. A market, nota bene, in which Ringier's new joint venture partner with Le Matin Dimanche (now already 625,000 readers) now has a virtual monopoly again after an interlude of just three and a half years.
The most far-reaching speculation following the announcement of Ringier's entry into the French daily newspaper business, however, is that the surprisingly large-scale shake-up could soon be followed by "a Swiss elephant wedding" (FAZ). "Anyone who takes a first step is not necessarily planning a second," says Werfeli cautiously. But even if Edipresse does not become a new case of Jean Frey or even Springer for Ringier for the time being: The synergy potential between the two major publishers is already causing people to fear for their jobs. For example, the three or four producers of the weekly TV supplement Télé Temps, which has long been a thorn in the side of TV-8 publisher Ringier. "Yes, a change is probably on the cards here," concedes Werfeli, without wanting to be more specific.
However: The alliance of giants made possible by reciprocal favors - Ringier finally has a quality newspaper in its portfolio again and Edipresse has a comrade in the fight against the French Hersant Group - is unlikely to get off scot-free with the Competition Commission (ComCo). If the takeover of 20-Minuten by Tamedia, which is rather unobjectionable in terms of democratic policy, is already subject to in-depth scrutiny, this market division affecting an entire language region could meet with quite fundamental reservations from the Bernese authority. However, according to Competition Commission Deputy Director Patrick Ducrey, not even an application for approval has yet been submitted.
When asked about the role of ex-Edipresse man Jacques Pilet, who has been in Ringier's service for five years, in the epochal deal, Werfeli is non-committal: "In any case, he didn't have to open the door. Pilet is known to have a central position in the press landscape of French-speaking Switzerland. As joint Le Temps shareholders, Edipresse and Ringier had already been in direct contact before last Friday." According to reports, this recently went so far that the two publishing patrons and art lovers paid their first visits to each other's homes. One would have liked to have been a fly on the wall...
Dimanche.ch editors wrote their obituary while singing wild songs.

Oliver Classen

Rüüdig beautiful view

Cheese marketing While most cows graze on boring meadows, cows from Central Switzerland are presented with magnificent panoramas. At least in the new campaign for Lucerne cream cheese.

Cheese marketing While most of their fellow species graze on boring meadows, cows from Central Switzerland are treated to magnificent panoramas. At least in the new campaign for Lucerne cream cheese, because the concept team at Guye Benker is convinced that even animals get weak at the sight of Lake Lucerne or the city of lights. Conclusion: this simply has to be a fine cream cheese. And to emphasize its provenance, the Zurich creatives gave the creamy Lucerne cheese the claim: "Rüüdig gut." A word that people outside the raclette trench will probably find difficult to understand, so there is no translation into French.

RingierTV produces for SF DRS for the first time

RingierTV, a TV production company that normally produces programs for Presse-TV and Sat 1 (Switzerland), has received a production contract from SF DRS.

TV production RingierTV, which normally produces programs for Presse-TV and Sat 1 (Switzerland), has received a production order from SF DRS. "This is a first for us," says Hans Jürg Deutsch, Managing Director of RingierTV. Specifically, it is a new seven-part 20-minute episode entitled "Headlines". This will be broadcast on Fridays during the summer vacations in place of the "Arena" program, which is on hiatus.

More authentic than the original

It’s worth noting that art used to be taught at academies; today, advertising plays an increasingly important role in this area. But beware: Customers will punish anyone who treats van Gogh and company with too little respect.

Column In the past, art was taught at academies; today, advertising is playing an increasingly important role. But beware: anyone who treats van Gogh and co. with too much disrespect will be punished by customers. only the uneducated ignore the fact that advertising is educated and therefore also useful for further education: but in their own way. There is no opera hit, no tenor icon who, apart from promoting the finest pasta, does not also promote the euphony of classical music. There is hardly a literary figure, from Struwwelpeter to the Maid of Orleans, who is not at least saved from oblivion by advertising. And wine continues to be served with Degas' Déjeuner sur l'herbe, in the Glatt Center, while Anker's peasant girl sleeps so blissfully only thanks to Badresidon. Freely adapted from Goethe: "Advertising and art / they seem to flee from each other / and have found each other before you know it; / the aversion has also disappeared from me. / And both seem to attract me equally."
Advertising also comes
However, they can only be educated through their own constant efforts - and not by simply stealing ideas. Per aspera ad astra, in other words. Of course, she quotes first and foremost. But, as a 500-page Zurich dissertation proves, she does so less through flat illustration than through clever transformation. And it does so so convincingly that one trend researcher even elevated advertising to the "leading science of the eighties" because it is the "basic diction of the new age". The chain of further education is correspondingly impressive: from the original, which itself quotes predecessors, to commentator, to academic compiler, to columnist and (hopefully) to the Werbewoche readership.
But how does advertising approach and transform its originals? How with
The artist has also reinvented, reinvented and developed the advertising potential of Leonardo, Botticelli and Magritte. The resourceful doctoral student has identified three royal roads to quoting art for advertising: the reverent, the illustrative, the ironic. To each target audience its own: reverence for the (art) believers, mere illustration for the uninitiated, irony for the knowledgeable.
However, dealing with cultural heritage in a way that promotes sales requires a certain sensitivity. So no moralizing or sarcasm, because that is the job of caricaturists, not advertisers. And certainly no sacrileges like the slip-up by the Basel tourist office, which presented Hans Holbein's "Corpse of Christ" with the claim "a corpse from our cellar". Remember:
Codes from high culture cannot be translated directly into the commercial world with impunity.
Only with due reverence
advertising succeeds in advancing its work of pop-cultural education. Especially when - like television - it spares us the abstract, but spoils us with plenty of lasting value and amuses the more depraved among us with well-dosed ironization of the art saints. The educational canon with which advertisers confront us may be incomplete, but it is easily retrievable for corresponding quiz questions.
With this in mind: when was van Gogh really in a good mood? In the face of a cool foaming Heineken beer. When does the Gioconda show her true smile? After drinking Ferrarelle mineral water, sparkling of course. And where do the disciples of Leonardo's Last Supper survive? In Oberammergau and - as disciples - in Otto Kern jeans. So it's only fair and educational when Kissling's "Tell" from the creative competition reads: "Here, advertisers, your art must be shown; the goal is worthy and the honor is great."
Advertising art for alcoholic beverages: an ancient pillar of the business.

Ulrich Saxer was professor of journalism at the University of Zurich and full professor of communication sociology in Lugano.

TA classifies local bundle according to relevance

Daily Newspapers: The Tages-Anzeiger (TA) is completely overhauling its local news section.

Daily newspapers The Tages-Anzeiger (TA) is completely reorganizing its local section, abolishing the division into "Stadt Zürich", "Region" and "Stadt Winterthur". Instead, a "competition of ideas" is to take place on the first four pages from early fall, as reported by the NZZ on Sunday. Editor-in-chief Peter Hartmeier wants to use the new structure to combat the continuing decline in circulation.

Please smile

Dentistry: The founders of Swiss Dental Center believe that with the right lifestyle, even a trip to the dentist can be made bearable.

Dentistry With lifestyle, you can even get over going to the dentist - believe the founders of Swiss Dental Center.dentist was yesterday. In the future, the often unpleasant visit to the dentist's office will be measured by harmless services. Treatment at the Dr. med. dent. as a pleasant experience? The clinically experienced specialists and initiators of the first Swiss Dental Center, which will soon open its doors in Zurich's trendy Steinfelsareal, are convinced of this. There, people are to sit in the dentist's chairs who no longer want to visit a practice with a stuffy waiting and threatening treatment room for the wide range of dental services - from caries treatment to cosmetic tooth correction.
Managing Directors Beat Schönmann and Remo Capobianco believe that their
Patients are looking for individual advice, expect comprehensive services and modern treatment methods in a modern ambience - just as if they were going to a wellness oasis. The promising business model is to be communicated accordingly: positioning dental services as a label. They entrusted the agencies Unikat and cR Kommunikation with the implementation of the integrated communication - poster campaign, direct marketing and online presence. These start with three striking and witty subjects, which are aesthetically designed in white and use sympathetic analogies to highlight the areas of bleaching, caries and oral surgery. And nowhere is a drill to be seen.
A pearl of a unique campaign - for dentists with style.

Luca Aloisi

"I don't have a computer"

As a copywriter at Soldini Bienenfeld, Michael Barney is getting closer to the clients again.

As a copywriter at Soldini Bienenfeld, Michael Barney is moving closer to the customer again. 20 years of service in advertising have convinced copywriter Michael Barney: "I still have GGK in me." This agency virus was implanted in him in Hamburg in 1981, "when Paul Gredinger had his many rabbit hutches everywhere". In addition to GGK, he also worked at Lintas in the Hanseatic city and in between at Saatchi & Saatchi in Frankfurt.He came to Switzerland in 1998 because he worked as a freelancer for
J. Walter Thompson invented the claim "Be Inspired" at a pitch for Siemens' first small cell phone. But this was not his first trip to Zurich.
There was also a specialist magazine called Das Schaufenster. It featured the best shop windows in the world - including those of the Globus department store in Zurich. "It would be nice if I could work in Zurich one day," thought Barney. And he stayed. Not as a decorator, but as a copywriter.
In fact, it was many years ago that Barney learned the trade of window designer from scratch in Herford, East Westphalia. With his knowledge of the visual impact of beautiful windows, he then wanted to become a graphic designer. However, when he intended to transfer to art school, it was discovered that he suffered from a green-red color weakness. Barney had to reorient himself and joined an agency as a junior copywriter, also working temporarily as a cartoonist - "always in the Herford/Bielefeld area", as the copywriter emphasizes. But as soon as he arrived in Hamburg and was taken under the wing of the GGK grandees, the first prizes followed - and in 1982 he was appointed to the ADC Germany.
His most important stations in Switzerland were three years at
Lowe GGK and before that a year at TWBA in Küsnacht. It was there that he met Frank Bienenfeld and Mark Soldini in 1999. The copywriter has now picked up where he left off after his team at Lowe was cut. He is looking forward to the new challenge. At Soldini Bienenfeld, Barney wants to take more personal care of his customers again. It also suits his style that he still writes his texts by hand - with a fountain pen, of course. "I don't have a car, a computer or a cell phone," he reveals - perhaps the most important reason why he won the pitch for the Siemens cell phone. And he does not deny that he somehow cultivates the aura of a writer with this characterization. "I am a flâneur. I love street cafés and people-watching."
But he never wants to realize his dream of writing a great novel, which is probably the dream of all copywriters. A great word of honor - although he could: The former lecturer at Texterschmiede in Hamburg has also written countless columns for the German trade magazine Horizont and later for Werbewoche, in which a mysterious "beautiful Claudine" adored by Barney kept readers guessing as to who she was. Today, he is happy to lift the veil on the beauty, but only a little: "After three years, I've just met her again," he smiles.
When he is not using his pen for advertising, he is writing letters under his pen. He has established a ritual for this: Every Saturday he writes at the Brasserie Lipp. Every Sunday he goes to the Grand Hotel Dolder. He writes to his 84-year-old father in the large hall. He describes this gradual process of crafting his thoughts while writing as "his daily training". Exercises that he considers necessary, especially for his understanding of his profession, and from which a little contempt for the current fixation of CDs on images can be heard: "The written word conveys just as much emotion as a picture," he says, recalling the effect of the claim "Stinginess is cool", which has already become a catchphrase.
Also likes to stroll through the hearts of beautiful women: Lyricist Michael Barney.

Andreas Panzeri

"We want to put more emphasis on the pleasures of life".

Press Since May 1, the Ringier magazine L’Hebdo, published in French-speaking Switzerland, has a new concept and a new look. Editor-in-Chief Alain Jeannet—who is also new to the role—discusses both changes with Christophe Büchi, the NZZ’s correspondent in French-speaking Switzerland and a longtime contributor to *Werbewoche*.

Press Since May 1, the Ringier magazine L'Hebdo in French-speaking Switzerland has had a new concept and a new look. Editor-in-chief Alain Jeannet - now also editor-in-chief - discusses both with Christophe Büchi, NZZ correspondent for French-speaking Switzerland and long-time contributor to Werbewoche.WW: Mr. Jeannet, you recently became editor-in-chief of L'Hebdo. In what state have you found the magazine in which you worked for a long time? Alain Jeannet: L'Hebdo was confronted with a phenomenon that other news magazines are also familiar with: an erosion of sales circulation.
How sharp was the decline at L'Hebdo? 48,000 copies were sold (last certification by Wemf), almost 90 percent of which are subscriptions.
And where was the top? In the best times - around 1994 - we sold 61,000 copies. But competition was much less fierce back then than it is today.
The reaction at L'Hebdo came relatively late. Why?
Compared to Le Point and L'Express, for example, there was a relatively long wait. This probably has to do with the fact that L'Hebdo is the only news magazine on the French market and the pressure was felt somewhat less quickly here.
Is there still room for a news magazine in French-speaking Switzerland? But it's clear that journalistic competition has become much tougher for us - due to growing competition from the daily press, among others, but also from audiovisual media such as French-speaking Swiss radio, which is now much more involved in the political debate.
You are thinking of the discussion program "Forum" on Radio Suisse Romande La Première?yes, of course, among other things. But with 48,000 copies sold and 22,000 readers, we remain a locomotive. Despite all the necessary self-criticism, we have a solid base of readers and, with a reach of 16.8 percent, more than any other news magazine in Europe.
What is the socio-economic profile of your readership? We have many well-educated readers. Our reach among the leaders and top leaders is already high (40.5 % and 39.6 % respectively according to MACH-Leader), higher than that of the daily newspaper Le Temps. But we want to increase it even further. And that is the main objective of our relaunch.
So a little more principals instead of assistant headmasters and teachers? A little less "classe moyenne"?
We want to increase our readership in the middle classes and win over decision-makers. But it's true: We also had the problem that the profile of L'Hebdo and that of Illustré were too close together. We need to differentiate ourselves more clearly.
Could you tell us a little more about the purpose of your "nouvelle formule"? Our relaunch consists of an editorial reorientation and not just a simple facelift. But that too, of course.
Let's talk about the design first. What has changed?
We wanted to move away from the style of the nineties à la Focus or Capital, the French business magazine from Prisma Presse. This style was heavily inspired by television and the Internet, and that is now a thing of the past for us. We want to focus more on the text again. This means fewer photos, but better use of them. Less graphical patisserie, but distribute it more efficiently. No more glossy paper, but semi-matt.
And in terms of content?
That is the decisive factor. We want to increasingly play the traditional trump cards of the weekly press again. We want readers to find more original information and more research that they don't get from the daily press. But we also want to anticipate social developments more, play a kind of pilot fish - that's almost an obsession of mine. In other words, we want to provide more background and focus less on current affairs. And resolutely set ourselves apart from the opinion mainstream and political correctness.
It's clear that we studied the new Weltwoche very closely, because its relaunch is certainly one of the most interesting experiments in the Swiss press in recent years. But our starting point was quite different from that of Weltwoche.
Firstly, we are the only news magazine and therefore the leader in our market, whereas Weltwoche has to reckon with Facts magazine. In addition, Weltwoche has its own history as a weekly newspaper on newsprint, which it also had to take into account. And finally, although our economic situation was problematic, we were not in a survival crisis like Weltwoche. We therefore had to and were allowed to proceed somewhat more cautiously. In view of our reach, however, we could not become too elitist.
You have said that you want to focus less on topicality and provide more background. Can you illustrate this with an example?
At the G8 summit, we were about to pass. After all, there's no point in reporting things later and in more detail that have already been reported elsewhere. In the end, we did publish a longer article, but only because one of our editors had found a view of the event that you couldn't read anywhere else.
So the core message is to stand out more from the news - we have a twofold USP. Firstly, we want to provide information and opinions that you wouldn't otherwise find in the press. And secondly, we want to put more emphasis on the pleasures of life - on humor and l'art de vivre.
You keep saying that you want more research. So you are clearly setting yourself apart from the somewhat feuilletonistic instructional journalism that at times set the tone in French-speaking Switzerland in particular?
We want to get away from the position of the journalist with the raised index finger, from the teacher attitude. We want more diversity in general. That's why we will increasingly attract foreign authors as well as authors who don't come from the journalistic pie. We journalists have to be very careful not to act autistically.
So you are moving away from the thesis and campaign journalism that Jacques Pilet practiced with maestria and his epigones with much less brio? I worked under Jacques Pilet at L'Hebdo for a long time and learned a lot from him. He always stood by his ideas courageously, defended them over the long term and with great skill.
His journalistic merits are not up for discussion! Nevertheless, L'Hebdo and Nouveau Quotidien's campaign for EU membership, the Cointrin affair and the Poussepin campaign were examples of classic campaign journalism, when media professionals at times intervened directly in political events as a lobby.
The "journalisme d'investigation" can run parallel to what I would like to call "journalisme de proposition" (proposition = proposal). But I think L'Hebdo has done a very good job on the European issue in particular, anticipating many developments and moving the public debate forward.
Of course, we want to continue to represent high-profile opinions and conduct research in the future. But there is more than just "journalisme d'investigation", investigative journalism. If we have scoops, then all the better, of course. But you only get good scoops a few times a year. We must not fixate on chasing the primeur, but must also focus on expertise. For example, we have published dossiers on pensions and health insurance in recent issues. These are the big issues on which we have something to say.
Do you actually work with the German-language Ringier publications? Yes, we exchange articles with Cash. Sometimes we also work together with SonntagsBlick. But we don't do this systematically.
And what about cooperation on the French side? we work a little with L'Express, but not very intensively.
You want to move away from shallow magazine journalism and focus more on background and expertise. But doesn't your campaign, which focuses entirely on people with photos of celebrities, contradict this?
These are not just any personalities, but actual "doers". We want to reach more top people, and this is communicated in a coherent and emotional way. But by showing Couchepin, Piccard etc. as children, we also bring a little humor and irony into the matter. We want to show: You can get very far with L'Hebdo. Hence the claim: "Dans la vie, rien n'arrive vraiment par hasard."
But you have also taken the old slogan "bon pour la tête" out of the moth box. Why?
Because it is a very strong slogan that is firmly anchored in people's minds. We also wanted to create continuity with it.
And what were the initial reactions to your relaunch? Is L'Hebdo coming
ahead?
The response was very positive, both from readers and advertisers. We doubled our newsstand sales with the first issues. I am convinced that this will quickly have an impact on our financial situation and that we will also regain our position as the topic leader.
In view of the large number of media outlets and the enormous competition, is the concept of topic leadership even justifiable? we want to be debate leaders, even if we have to concede that other media outlets also do a good job. Vive la concurrence!
Couchepin helps with the relaunch of L'Hebdo.
The Edelweiss Connection

It would perhaps be a little exaggerated and not quite true to the biblical model to claim that Alain Jeannet's return as Editor-in-Chief of the Ringier weekly magazine L'Hebdo is something like the return of the prodigal son. After all, Jeannet didn't seem that lost at Edipresse. But somehow it was written in the stars that Jeannet and L'Hebdo would have to meet again sooner or later. After all, the new editor-in-chief had learned his journalistic trade at L'Hebdo.
Born in Neuchâtel in 1958, he studied political science at the University of Lausanne (where the author of these lines was allowed to work as an assistant) after completing his A-levels. He also played and sang in a pop group. At a time when many young French students were criticizing capitalism and raving about China and North Vietnam, he was already drawn to the USA, the land of almost unlimited free competition. As a young journalist at L'Hebdo, which was launched in 1981 and nurtured by Jacques Pilet, he quickly made a name for himself as an expert on chip technology, the New Economy and Silicon Valley. He became head of the economics department and moved to Berlin in 1990, just in time for the fall of the Berlin Wall, as Germany correspondent.
When Pilet launched the daily newspaper Le Nouveau Quotidien in 1991, mainly with Edipresse money, "Pilet-Boy Jeannet" became the chief executive of the new "journal suisse et européen". In 1993, the born "plodder" then went to the Far East as a rice runner in the Ringier payroll, in order to stamp half a dozen "print products" out of the socialist ground in China, Vietnam and Indonesia. In 1996, he returned to Nouveau Quotidien and shortly afterwards was recruited by Edipresse to the development group. He then returned to journalism: he became deputy editor-in-chief of L'Illustré, then editor-in-chief of Bilan and - all's well that ends well? - Editor-in-chief of L'Hebdo.
Jeannet is married to Renata Libal, editor-in-chief of Edelweiss, and is the father of two children. With parents like that, it can be assumed that the French-speaking media don't have to worry about the next generation of editors-in-chief.
Back at Ringier: Alain Jeannet.

Christophe Büchi

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