Car dealerships This spring, the new Ford Streetka will be seen on Swiss roads for the first time.Although no launch campaign was planned for this Ford runabout, Grendene Ogilvy & Mather in Zurich decided to advertise the model in Switzerland anyway. "Because we were convinced that this model would have a positive impact on the Ford brand and bring a new, younger audience into Ford showrooms." A wise advertising idea, as the campaign not only convinced customers in Switzerland, but also Ford of Europe in Germany, France and England. The campaign from Zurich, or parts of it, is now being used in these countries, so Grendene Ogilvy & Mather took courage and ran the Ford campaign.

Branding A survey of around 1,000 German consumers conducted by the Berlin agency Publicis Public Relations revealed that 41% of our northern neighbors are currently buying more European branded goods for political reasons. Only one in five of those surveyed consciously boycotted US brands.

After a break of around two years, APG's top executives finally revived their poster competition under the name Poster Night at the Lakeside Casino Zürichhorn, where not only the almost complete APG management team was present, but also many celebrities from the media and communications sector. In these difficult economic times, Affichage Holding CEO Christian Kauter greeted his guests in a slightly platitudinous manner, but with the right intention nonetheless, and he was proved right - the audience got their money's worth. Guye-Benker consultant Sibylle Siegrist was even doubly and triply impressed. Not only did Kunde Weltwoche win in the "Commercial Series" category with the celebrity subjects designed by the Seefeld agency, it also won Poster of the Year. Madame Siegrist also won a beautiful Omega ladies' watch in the raffle.
In addition to the swiftly paced award ceremony, the concise, short laudations and speeches delighted the guests.
This left plenty of time for refreshing table discussions. The only point of criticism: Carlo Schmid Sutter's programmatic castigation of advertising bans is still well received, but is now standard practice. After all, the professional audience shares the SW President's attitude. Such sermons should not be preached to converts, but to the allied advertising obstructionists of Berne and Brussels.
The performance by La Compagnia Rossini was amazing. For a moment, you felt as if you had been transported to the Tonhalle or the opera house. The organizers' courage to include classical music in the show block for once was rewarded with standing ovations. And the wine tour, like
The choice of drinks offered by "conferencier" Othmar Casutt was jokingly referred to as a "wine tour", which was met with great enthusiasm. The wine tour started in Epesses, then went to the Bündner Herrschaft and finally ended up in Valpolicella. For a nightcap, some of the guests are even said to have gone to the groves of Normandy and enjoyed the distilled cider.
Barbara Higgs, Schauspielhaus, here with host Christian Kauter and Christof Kaufmann (r.), OMD Switzerland.
Major success thanks to Weltwoche: Andi Prokesch (right) congratulates Andi Benker on winning "Poster of the Year" and a category.
Ex-girlfriends from the Publicis/Optimedia era: Diana Strebel, CEO at Wundermann, and Andy Lehmann, Mediahaus Seefeld.
In the most beautiful purple: APG ladies of honor Helga Ulrich, Liliane Schüpbach, Flavia Papi and Ursula Kilchenmann (from left).
Barbla C. Schaerer, Managing Director of Farner PR, and Piero Schäfer, SW press officer and owner of Schäfer & Partner.
A look at the current poster scene: Agency owner Peter Leutenegger and SW Managing Director Monika Luck.
A well-rehearsed team: APG PR woman Ruth Bertschi with APG Director Othmar Casutt, who confidently led through the program.
SW President Carlo Schmid Sutter (right) and ASW President Diego Bally held presidential discussions.
The big hit at the Poster Night: publishing director Uli Rubner with Weltwoche advertiser Christophe Guye and consultant Sibylle Siegrist (right).
Visit from Gockhausener Meisenrain: AD Willem Baumann and consultant Daniela Schödler from Advico Young & Rubicam.
Media trio infernale from Mediaedge CIA: Bernd Leckebusch, Urs Rueb and Saverio Progano (from left).
The Biel Young Directors: Rolf Bühler (left), Director of the APG branch on Lake Biel, with Sawi Director Jürg Engi.
Charming advertising duo: Sarah Hiltebrand (l.) and Karin Stich from the Zurich agency Noise.
Life for direct marketing: SDV President Guido Wietlisbach, OgilvyOne, with Daniela Reinhard from the SDV office.
Winner of two out of three gold prizes: René Eugster (left) was delighted with Guido Bertuzzi from Druckerei und Verlag Rheintal.
Their agency won a total of six prizes: Natascha Baumgartel (l.) and Esmeralda Schürch from Fisch Meier Direkt.
Eliane Merz (l.), Heinrich Breiter and Esther Luterbacher from the Solothurn ASW agency IBL und Partner.
The DM Night offers the best entertainment, said Myrtha Fotsch, Blickle Direktmarketing, and Jochen Ebner, One-Marketing-Services.
Francis Bissat (r.), FB Communication, with Jacqueline and Urs Anderegg from SPDS.
Plea against bad advertising in letterboxes: Frank Bodin (l.), Euro RSCG, and Gilbert Fisch, Fisch Meier Direkt.
Managing directors of the advertising associations: Peter Grob (left), ASW and Idée-VfW, with Walter Merz from BSW.
There was one gold and one silver for Swisscard AECS with Bettina Glarner and Markus Wirth.
Philip Kramer (l.) and Marcel Benz from Orange give Lowe Direct consultant Urte Krause a high five for two bronze awards.
Peter Braegger and Daniela Massaro (right) from Swisscard AECS with Heike Rindfleisch from Momentum.
Claudia Giorgetti, Coop, Daniel Jud (l.), Baumer AG, and Martin Lütscher, Automobil Revue.
A feast for the ears and eyes: La Compagnia Rossini provided the musical backdrop.
Model of the DM price in the form of a stylized telephone receiver.
Beat Fritschauf event tour. Major events were on the agenda last week and were highlighted in red. After the HandelsZeitung presented its advertising trend study on Tuesday, APG hosted Poster Night 03 on Thursday and the Swiss DM Association presented this year's direct marketing awards on Friday.
We find out where the communications, media and publishing scene meets for its events at a wide variety of events.
Do you already have something to report? Pick up the phone (01 296 97 98) or hit the keys ([email protected]). Event tips and more shortlist pictures are available online at www.werbewoche.ch.
Winners of the DM Awards 2003Mailings Business-to-consumer
Silver OgilvyOne/Volvo Automobile OgilvyOne/Swisscard AECS
Bronze Fish Meier Direkt/Swisscom Mobile
Mailings Business-to-businessGold Eugster Kommunikation/SieMatic Switzerland
Silver Fish Meier Direct/LibertyCall
Bronze Robert Haug/self-promotion
Scatter advertising/inserts/take-onesSilver Euro RSCG/Catapult/Arena225 Wirz Werbung/Tibits
Bronze Alex Schmid/Unilever Bestfoods
AdvertisementsSilver Fish Meier Direct/LibertyCall
Bronze Lowe Direct/Orange Matter & Partner/Observer
Advertising media in electronic mediaGold ePrint Factory/Swisscard AECS
Silver Angelink/Ittinger Klosterbräu
Bronze Futurecom/Axpo Holding
Multi-level dialog programsSilver OgilvyOne/Volvo Automobile
Bronze Lowe Direct/Orange Sulzer Sutter/British American Tobacco
International mailing campaignsSilver Euro RSCG/Meltweg /Mouse Mouse/Active Consulting
Bronze OgilvyOne/Hapimag
Innovative production technology manualSilver Fish Meier Direkt/Swisscom Mobile
Bronze Euro RSCG/Catapult/Blood, Sweat & Tears
Innovative production technology mechanicalBronze Fish Meier Direkt/Saab Automobile
Fish Meier Direkt/Neue Zürcher Zeitung
Agency self-promotionGold Eugster Kommunikation
Silver Matter & Partner
Bronze Alex Schmid OgilvyOne
SME Special Award Direct MarketingSilver Euro RSCG Switzerland/Meltweg/ Mouse Mouse/Active Consulting
Bronze Bachmann and Partner/Garage Zimmerli
Foreign campaignsSilver BBDO InterOne/Deutsche Post OgilvyOne Worldwide/Dresdner Bank
Bronze OgilvyOne Worldwide/HighwayOne Germany
Publicis Dialog Marketing/ Deutsche Post

This year, the three festivals under the "Lucerne" umbrella brand are being advertised with key visuals that are unusual for an event of this caliber.
However, your article gives the impression that the umbrella brand has only just been developed and positioned as part of the current campaign. But that is not correct. The new "Lucerne Festival" umbrella brand was already launched in 2001 in line with the new strategy. It was developed by MetaDesign. At the time, our agency developed the umbrella brand in order to create consistency in the appearance of the three festivals and thus the prerequisite for the desired synergies. Our colleagues picked up the ball with their current campaign and played on it. However, I don't think they need to adorn themselves with other people's feathers - and they themselves have an interest in ensuring that corporate identity and advertising are not lumped together.
Bruno Schmidt, Managing Director of MetaDesign, on the article "Wirz Sonata for the Lucerne Festival" in WW 11/03
...
What cynicism?
The work I submitted to the Cannes Open for the client Xenix is described as cynical in Advertising Week. In it, Palestinians carry a sofa back to their house in East Jerusalem, which has been partially destroyed by Israeli bulldozers.
Is it dishonorable to use this alienated keystone photo to draw attention to the suffering and injustice of the Palestinian people? The image communicates the basic attitude of Xenix: political cinema that depicts reality. If you want to talk about cynicism in this context, then at least it should be openly displayed. Evil cynicism, on the other hand, is to be found where beautiful people smile for products that are unable to fulfill their promise. Shouldn't the author rather make an effort to discuss this covert cynicism in advertising?
Dominic Suter, freelancer looking for a job, on the article "Freshly coiffed cord" in WW 11/03

Tobacco industry Sulzer Sutter, Zurich, relies on fresh colors and the fun society of young adults for a relaunch of Parisienne Extra and Ultra. "Newly painted" is the theme of the campaign for the new packs of Parisienne Extra and Ultra cigarettes. The color orange for Extra is an unconventional choice - strong color signals for a mild "cig". Closer to the product, light blue has been chosen for the restyled Ultra. The new wrappers are intended to give the two blends in the entire Parisienne product family with the other Super, Mild and Special Mild blends a more confident appearance - something the previous packaging was clearly unable to do. The new boxes were developed by the Sulzer Sutter agency in collaboration with its customer British American Tobacco Switzerland and external designers.
The subjects of the "Newly painted" campaign show packs in displays with splashes of paint, as if a paint bag had flown against the cigarette packs. But stands were also designed that look as if someone has brushed over them with a paint roller. A teaser campaign highlighting these color changes has already been launched in the scene titles Kult and Forecast. In the ads, yellow bananas are painted over with the color blue or yellow mailboxes with the color orange.
The poster and advertising campaign is accompanied by selective measures which, according to the agency, have always been well received by the Parisienne public. At selected locations, for example, posters are painted over by promoters in painters' overalls.
Paint your Parisienne yourself
Since April, graphically convincing samples with the new colors have been sent to selected addresses of smokers who are "guaranteed over 18" in a sneak preview. Typical of Parisienne's constantly surprising ideas are the give-aways with the claim "Coming soon" and real seeds from which orange and light blue flowers grow. In another campaign, postcards with thinly printed real watercolor "pots" are sent out, with which you can redesign your old Parisienne yourself.
The old packets at the kiosk are also marked with information stating that the two types of cigarettes will soon be available in new colors. An insert in the box draws attention to the upcoming changes.
"Coming soon" is also the message of a promotional campaign in bars and pubs. For example, there is a competition in which promotional hostesses encourage smokers to discover the new colors of the Parisienne, for example on a dress or in the real-life surroundings of their bar, using a color swatch. The event is strongly reminiscent of the game "I see what you don't see" and is captured by the promoters with a Pola. For spontaneous contest participants who have spotted the new color somewhere in their surroundings, there are various goodies to be won as instant prizes in addition to a main prize. "A campaign alone is not enough, you need events at various levels that are fun," says Francis Sulzer.
One hundred years of success
Parisienne is only available as a brand in Switzerland and Austria. It is 100 years old and successful. While other national brands have gone under in the wake of American marketing offensives, Parisienne has overtaken Marlboro with its mild yellow cigarettes among the target audience of 18 to 30-year-olds. The cigarette has thus been able to steadily increase its market share to over 12 percent in the last seven years. This is also the period in which Sulzer Sutter is responsible for Parisienne's budget, says a delighted Francis Sulzer. This success has been achieved during this time with marketing measures that have "deliberately reversed all the rules". With its trashy packaging, Parisienne is considered a trendy glow-in-the-dark drink in the techno scene, among other things. Sulzer Sutter's new campaign, however, did not focus on this particular target group, but once again deliberately opted for a completely open style.
Sulzer Sutter's orange and light blue are the new trend colors for the Parisienne brand.
Andreas Panzeri

The BSW agency Dachcom Gmeiner from Rheineck SG is advising the Environment Office of the International Lake Constance Conference (IBK) and has been commissioned with communication on the subject of agriculture and water protection. A public relations and trade fair presence with information and animation elements relating to Lake Constance will be implemented, as detailed in a press release. The first works can be seen in June. Dachcom Gmeiner prevailed against Swiss, German and Austrian agencies. IBK sees itself as a link for cross-border issues in this tri-border region.

Postal marketing ExpressPost has its product advantages communicated by Lang Gysi Knoll with hard-hitting arguments Swiss Post is still the lonely leader in international comparisons when it comes to punctuality. It now wants to prove this position in the express mail sector as well. In an astonishing way for a public service. This is made possible by partial liberalization. This has forced Swiss Post to strengthen not only its financial independence but also its image independence. To round things off, it followed up the entertaining Swiss Courier campaign with one for ExpressPost. This dramatizes the product benefits - moon consignments reach their destination overnight by nine o'clock the following day at the latest - in the same surprising manner: the creatives at Lang Gysi Knoll (LGK) produced a TV commercial, from whose advertising idea the POS posters and various accompanying measures with the key visual "Parcel just before impact" were derived.
Death also comes on Saturdays
The movie is told in a rush: An accountant, organized to the tips of his fingers, enters his office in the morning and pedantically goes about his morning rituals: Tidying folders, organizing pencils, gazing dreamily at the Wallace & Gromit clock when, out of the blue and with full force, a yellow postal package hits him in the head. The voiceover: "Watch out! The Swiss Express is guaranteed to arrive by nine o'clock in the morning. And all over Switzerland."
Shortly afterwards, the same guy is seen mowing his lawn in proper leisurewear and is once again hit by a package on time. Laconic explanation: "On Saturday too, by the way."
Of course there were concerns, explains concept designer Daniela Jakab: "Not because of the overturned Bünzlis, but because of the contents of the parcel and the possible associations." We reward such courage for lethal humor with the emphatic reminder that Swiss Post will also deliver the contents of the parcel on time and in perfect condition. Luca Aloisi
The arguments in favor of ExpressPost also hit the mark on Saturday: LGK TV commercial.

Association policy Swiss advertising and PR agencies are to form a joint association The boards of the industry association Swiss Advertising and Communication Agencies and the Association of Public Relations Agencies in Switzerland are proposing a merger to their members. The new organization will comprise around 100 agencies with a fee volume of CHF 400 million and representing around two thirds of the agency market, the associations announced.

Column The national "quality press" is fit for the future and also indispensable for society's intellectual life. The problem is not the business models of FAZ, NZZ and Co. but their managers.
Reduce the company to its core competencies" is a famous standard demand of analysts. Siemens CEO Heinrich von Pierer occasionally remarks dryly that he would have gone bankrupt long ago if he had followed such demands. Financial circles have repeatedly advised him to sell off parts of the company that have since become highly lucrative again, so the fine line about "core competencies" is not a patent remedy. However, it would have been worthwhile for some publishing houses to concentrate more on what they are really good at. Large quality newspapers are currently fighting for their lives. The Süddeutsche Zeitung (SZ) first cut its youth supplement, then its capital city page and finally its supplement for North Rhine-Westphalia. The Frankfurter Allgemeine has also discontinued its Berlin pages. The Frankfurter Rundschau recently had to apply for a state guarantee, and even the Neue Zürcher Zeitung found itself forced to take on a lot of work.
forced to cut costs. If the business model
of the national quality newspaper on the brink of collapse? The SZ editorial team fears this and, in protest, has canceled the traditional "Streiflicht" on page one for the first time and replaced it with a reference to its own crisis.
So it's high time for tried and tested home remedies. Claus Strunz, editor-in-chief of Bild am Sonntag, recommends increasing the subscription price in the face of falling advertising. Publishing managers say that a quality newspaper should cost as much as a cup of coffee. That sounds plausible, but will further reduce circulation. Even the cool cost-cutters are taking a risky approach. Cutting Sunday supplements, magazines and media pages reduces the universality of the respective paper and not only drives down costs, but also readers.
The difference between traditional regional newspapers and the national paper is precisely their cultural, economic and international added value. People prefer the national to the local paper because it contains an essay by Arundathi Roy, a polemic by Adolf Muschg or an analysis of Microsoft. But for such pieces you need
financial and intellectual resources. The quality newspaper determines the intellectual scope of a country's elites; not alone, but to a considerable extent. Anyone who sacrifices the business model of the national quality newspaper is therefore shaking the ability of an entire society to satisfy itself.
Quality newspapers are endangered by peripheral activities such as wickedly expensive internet presences, unsuccessful TV experiments, bought-in specialist publishers, etc. Added to this, however, is the huge slump in the classified advertising market. Frankfurter Allgemeine has lost three quarters of its job advertisements compared to the boom year 2000. In addition, prestige publications have simply been blindly pushed through. Are Sunday editions (FAZ, NZZ) a noble duty or a dispensable freestyle? Management must ask itself such questions today - and answer them firmly.
Nevertheless, the quality newspaper itself, including its elaborate business and cultural sections, will survive this long economic winter with great cost discipline and despite falling circulations. But now we need to set clear priorities again, true to the motto: first the bread, then the butter. But don't forget: Without bread, you starve.
> Peter Glotz was Federal Secretary of the SPD and a member of the German Bundestag until 1996. Today, the professor teaches communication management at the University of St. Gallen.

Bank advertising PostFinance goes to Hollywood to secure the lion's share of the 100,000 or so young people who sign up for a bank account every year Cinema, with all its emotional dream worlds between heartache and action thrills, is the medium for young people. The world of cinema is therefore more suitable than any other as a platform for youth marketing. It was only a matter of time before Publicis also took up this theme for its client PostFinance, and the advertisers from Theaterstrasse are leading the joint marketing strategy with Sony into the anniversary year under the motto "Account up and movie down". With the DVD player offer, the acquisition campaign aims to build on previous successes. "The concept with the annual youth campaign has established itself extremely well over the last ten years," says CD Markus Gut.
The only noticeable change is the timing of the start of the campaign. This year, it has been scheduled almost a month and a half earlier than usual. "We want to be visible at a time when most of our potential customers are concluding their apprenticeship contract," explains Roger Thöny, Head of Marketing Communication Youth at PostFinance. This is not a reaction to the acute apprenticeship situation in Switzerland, he adds. So far, there has been no noticeable increase in marketing activities at the competition either.
As PostFinance claims to be the leader in this market segment, it is well placed to set the tone throughout the industry. Without any self-important gestures, but in line with its positioning as a likeable alternative to the bank with an unpretentious, straightforward appearance, it integrates a brand that is currently very popular with young people. This benefits not only the teenagers who open a yellow account, but also Swiss Post and brands such as H & M, Panasonic and EasyJet, which have already been involved in a campaign.
This year's campaign sets PostFinance apart from other financial institutions with three subjects in various print and poster formats and creates a visually appealing bridge between the opening gift and the post office, which the core target audience of 15- to 16-year-olds should use. The creatives reel off the entire repertoire of famous symbols that big cinema has to offer and project the clear invitation to "open your account" - from the Walk of Fame star to an American-style cinema temple and Hollywood lettering.
Déjà vu is known to make money. Especially in Hollywood, where the sequel industry enjoys great popularity. And so, as
even halfway successful remakes can be turned into blockbusters for younger generations with a decent marketing budget, the PostFinance campaign also revives an advertising motif from an old youth account campaign by UBS (Guye & Partner).
Guaranteed to appeal to Hollywood: Young people with the intention of opening an account are PostFinance's main target group.
"Original" for the UBS account.
Financial marketing Around 100,000 young people open a new account every year. Swiss Post wants to secure the lion's share of this market and is taking a detour to Hollywood to do so >> p. 7
Luca Aloisi

The St.Gallen-based communications agency Festland has been commissioned by the ventilation and air-conditioning technology company Luwa in Uster to design a new company brochure, which is to be used from the middle of the year, particularly in the core markets of North America, Asia and Europe. Festland was commissioned by Solvay Pharma Switzerland to relaunch one of the leading medicines for irritable bowel syndrome on the Swiss market. The new appearance of the prescription medication will be launched in early summer.

Wemf Magazine CEO Alexander Theobald on Tamedia's new credentialing policy.WW Who and what prompted Tamedia to change its credentialing policy?Alexander Theobald It was a management decision. We are still of the opinion that circulation is an important indicator for the advertising industry, but readership is even more important.
Why now of all times?
We also analyzed our sales channels according to the cost-benefit ratio. Some channels performed unfavorably. This means that we do not certify certain channels that would be approved according to Wemf.
However, this also shows that far too many promotional and trial copies were pumped into the print runs in previous years.
Particularly in the case of magazines, the proportion of promo
subscriptions high. You can save money here.
Declines of more than a quarter in circulation at Annabelle and over 22 percent at Facts are certainly not good for the image of these titles.
I wouldn't call it a slump. We are reporting tougher figures - the advertising industry can only welcome this.
Tamedia is thus also expressing its mistrust of Wemf's practice.
Not in the slightest. There are other publishers that are going in the same direction. The aim is to generate equally attractive readerships - but with smaller print runs.
Will the number of readers shrink in the fall in line with circulation?
Currently, our readership is even increasing slightly - for all of our magazines. We know this on the basis of interim evaluations that we receive from Wemf.
With this switch to "sustainable circulation", can we now expect Tamedia magazines to have more stable circulations in the coming years?
In future, we only want to report additions and disposals that correspond to developments in fixed-price subscriptions and kiosk sales.
Interview: Daniel Schifferle