Men have worries: either they are too fat or they have erection problems. And in both cases, the man's best piece is affected. This is now a thing of the past. The "New therapy" section of the website www.wir-hel fen-koennen.ch shows how to get the bird going in 20 minutes. However, every cuckoo clock owner knows that the pleasure is short-lived. Or have you ever seen a cuckoo clock cuckoo fly away? Our full-fat model from the USA did not experience any of the miraculous effects. Although his weight loss is guaranteed to be fast thanks to triphetamines, it will probably take a little longer than 20 minutes. Chandra Kurt [email protected]
Column

Terre des hommes Martin Lanz
Let's say Reini Weber does a big mediocre ad for the SonntagsZeitung, but the carrier is less than mediocre and doesn't deliver the paper until ten in the morning.
Let's say Matthias Freuler runs a bold campaign for Brockenhaus and I get annoyed by a dusty waitress.
Let's say RufLanz makes a lively VBZ advertisement, but the streetcars are so filthy that I prefer to walk.
Let's say Ivan Scotti assures us that the "Winterthur" is the best, and as soon as I deal with it, it turns out to be stingy.
Let's assume that the Three-Lakes Region is dressing up for Expo.02, but the concierge at the Hotel Touring in Neuchâtel doesn't even know the opening hours.
Let's assume that Switzerland promotes Switzerland, but the Swiss remain Swiss and therefore prefer to keep to themselves.
Let's say you get on an airplane because the advertising says it's a safe company with comfortable planes and friendly service and on-time landings, and then a pilot takes a cigarette break at an inopportune time.
Terre des hommes. Let's assume that one day there would be no more unreliable, rude, stupid, arrogant or stupid people. There would only be advertisers! Nobody would mess up what they come up with so smoothly. And so they would advertise incessantly. And nobody would buy what they offered. Because those who fall for advertising would no longer be there. Then the advertisers would soon be gone too. Deserted la terre. And just before drying up, the very last advertiser would quickly have a clear thought: "Why didn't I apply for the budget of a coffin factory earlier? Then I'd die even richer." [email protected] Martin Lanz is a freelance copywriter and head of KRAZ in Zurich.
Business lunch

Food that doesn't bother you doesn't taste good The first thing you notice when you sit down at the table in the newly renovated Kunsthaus restaurant is a small folder that rates the vintages of a wide variety of wines. It starts in the Bordelais and ends in South Africa. A nice idea - after all, 550 crûs are stored in the cellar. The glass front promises a touch of urbanity in the mostly staid gastronomy of Zurich. But: it's not worth a visit, sorry.
Since Agnes Amberg closed her restaurant on the Pfauen, the place has been gastronomically deserted. It really doesn't always have to be Mövenpick. But the Kunsthaus, which should actually have fallen into the hands of top chef Peter Brunner, is "Mövenpick minus", as my counterpart commented on the performance from the kitchen after taking a look at the plate. There is only one point of disagreement. When he said it was "food that doesn't disturb", that's not true. It is disturbing.
The meal began with a selection of appetizers. Part of the selection came from tins and other tin cans and plastic containers. However, these antipasti are not part of the menu - there are eight main courses to choose from, each served with salad and soup. Will gladly pay extra.
You pay between 19.50 and 33 francs per main course. The soup was omitted due to the temperature, and the chef did without oil for the salad. The main course: corn-fed poulard breast with dry rice. Without sauce. Instead, the breast was served on warm pelati tomatoes. The other diner had iceberg lettuce with rabbit fillet. "Food that doesn't disturb."
Well, the 550 wine items, with an ingeniously low take-away price, that's a USP that you can put up with. But when the food never, ever keeps up with what the cellar has to offer, it becomes difficult. What's more, the service crew was hopelessly overworked. While we were eating the antipasti, interrupted by parleying, they wanted to bring the main course. Okay, that can happen, it's no big deal. But the main course was lukewarm - well, then: I would therefore like to formally apologize to Remimag Gastronomie, operator of the Kunsthaus restaurant plus various pizzerias in Lucerne and the surrounding area, for not moving fast enough with the food. And I can also assure you that I will not be applying for the vacant position of Chef de Service advertised on the Internet - I am no longer 25 years young. But one experience richer. Carlo Bernasconi [email protected]
Restaurant Kunsthaus Heimplatz 1
8001 Zurich
Tel. 01 251 53 53
Fax 01 251 67 67
No parking spaces
Evaluation Essen .......................2
Drinks ..................4
Operation ................1
Business factor ........1
5=top, 4=very good, 3=o.k., 2=naja, 1=flop

Practical textbook by Rayan Abdullah and Roger Hübner on corporate designThe new guide "Corporate Design" by Rayan Abdullah and Roger Hübner is well thought-out, practical, with lots of tips for everyday use and a helpful index in the margins of the book. Corporate design (CD) conveys the identity of a company through a strategically defined image and is therefore part of corporate identity (CI). The new handbook deals with issues ranging from raising awareness of the benefits and components of CD to the contractual regulation of cooperation and copyright aspects. The CD bible is rounded off with checklists and price information to help you put together a budget. The creation of a CD manual with design guidelines is discussed. The authors see the problem here in a later flexible application without being able to know all the circumstances beforehand. For future adjustments, for example, it makes sense to record in the manual why which decisions have been made.
More than half of the book is devoted to analyzing concrete examples from practice. This makes the theoretical context tangible and at the same time demonstrates the power of good corporate design. Here you will find background information on the budget as well as design considerations and tips on how to avoid mistakes. The guide is rounded off by a directory of the most important industry addresses and a glossary ranging from "ADC" to "primary color" to "visual bracket". A visual bracket is defined in the book, for example, as a "recurring design characteristic, developed from the deliberate use of basic elements, which runs as a concept through all applications or products".
Abdullah studied visual communication in Berlin. He developed design projects, including the new federal eagle. He has been teaching typography at the Academy of Visual Arts in Leipzig since 1993. Roger Hübner has worked as a freelance graphic designer and art director in Berlin and Frankfurt on various accounts. He has specialized in web design and has been head of department at the Mediadesign Akademie Berlin since 1998. Andreas Panzeri
Rayan Abdullah, Roger Hübner: "Corporate Design". 160 pages. Published by Hermann Schmidt, Mainz. ISBN 3-87439-597-9

Marcello Schnyder is recruiting new talent in London for his film production company GlassBy Andreas Panzeri The Zurich-based advertising film production company Glass has adopted new structures: Marcello Schnyder wants to work with a permanent roster of young talent from London in the future. Glass has also signed exclusive contracts for Switzerland with the international
cinematographers Steve Downer and Daniel Pearl.
For over ten years, Marcello Schnyder has spent at least three months a year in London for the post-production of his advertising films. During this time, he has made many contacts with new and young specialists from the film industry, which Schnyder now wants to use for a personnel reorientation of his Zurich-based Glass Film.
"Until now, we have mainly worked with our own people. In future, I want to build up a base of freelance directors with a few young talents from London that we can represent in Switzerland," explains Schnyder.
The Zurich-London connection with filmmaker Emma and her team has taken on its first concrete form. Emma, born in London to Swiss parents, sought contact with Glass to work in Switzerland. With her fast-paced film language and unconventional stories, which are often set against a realistic background, the young director immediately won over the Zurich production company with her showreel. With a budget of just CHF 25,000, Emma subsequently produced her first commercial for Adelboden. The story arouses curiosity with underwater shots of a playful couple. Within 15 seconds, it is revealed that this couple is frolicking in a bathtub for cows. In the background, the vacation resort of Adelboden beckons with its Alpine wellness.
The other new people at Glass are specialists who have so far mainly worked in post-production in the British metropolis and now want to apply their sound technical knowledge as directors. "Such people are much better suited to today's spot productions than filmmakers who come from a more narrative film background," Schnyder is convinced. Such disguised or even successful feature film directors often shoot far too many and wrong shots, which are either not needed at all or can only be processed with difficulty in the increasingly tricky electronic post-production.
Schnyder binds top cameramen to Glass
As a representative of a new generation of directors in the commercial sector, Glass wants to work with Stephen Hiam, for example. "Hiam's many years as a compositor at Red Post now allow him to shoot specifically for post-production," says Schnyder. Nevertheless, he is keen to realize as much as possible in the camera in order to achieve a harmonious image, "even though practically everything can be done digitally today".
Steve Downer is a man of the camera. In his micro-world, most of his actors are only a few millimetres in size. "He uses special lenses to perfectly capture everything from water droplets to insects," says Schnyder, who operates in a similar micro-world with his Coop commercials. In future, Downer will work exclusively for Glass in Switzerland, as will Daniel Pearl. The star cameraman from Los Angeles won the first MTV Cinematography Award in 1984 with The Police's "Every Breath You Take". Since then, he has shot over 900 music videos and commercials.
In addition to the Swiss Luzius Sprüngli, Simon Cracknell and the duo Trifecta will bring a breath of fresh air to the business at Badenerstrasse 109 in Zurich. Behind Trifecta are graphic designers Dan Williams and Glyn Tebbutt, who have already realized various animated music videos and TV trailers in London.
The hard core of Glass is now only formed by Cello Schnyder as director and Gabi Benz as producer.
Manifesto comes to Zurich

Different goals require different companies. Founding member Reto Salimbeni left Glass Film at the end of last year. Together with former propaganda and tsunami producer Mark Andrews, he founded the advertising film production company Manifesto Films in London in April.
His first work was a commercial with Japanese star footballer Nakata for the World Cup in Japan and Korea. Reto Salimbeni, whose second feature film "Was ist bloss mit meinen Männern los?" was shown on Pro7 in May with excellent ratings, is currently working on another feature film project for the German producer Bernd Eichinger (Constantin). In addition to his offices in Los Angeles and Vancouver, Salimbeni also plans to open a Manifesto branch in Zurich this fall for the commercial film sector (pan).

Wirz invites carnivores to the table for the vegetarian restaurant HiltlWhen Zurich's top address for vegetarian food, the restaurant Hiltl, orders a new campaign from Wirz Werbung in Zurich, the result is usually unusual advertising. This time, the crew around CD Matthias Freuler came up with a movie spot and posters. The campaign is aimed at consumers who only occasionally enjoy the benefits of meat-free cuisine, and Hiltl, a one-man business with naturally grown sales limits, generally cooks its advertising on a small budget. Wirz compensates for this disadvantage by serving up advertising delicacies, which also delight the ADC juries time and again.
In 2001, for example, he awarded silver to the motif of a carnivorous plant eating a carrot. In 2002, a motif entitled "Saver Food", which shows a cervelat with a condom over it, also received a silver cube.
This year's advertising menu for the vegetarian restaurant consists of one poster for the summer season and one for the winter season, as well as a spot that will be shown at the open-air cinema on Lake Zurich, where the restaurant is responsible for catering. The poster visuals will be adapted to other advertising media such as postcards.
Men usually have even more prejudices than women
The current appearance continues the previous positioning, according to which vegetarian food tastes so good at Hiltl that many non-vegetarians occasionally find their way to the restaurant. The campaign is not a wishful thinking campaign, but is based on
the actual composition of the guests. Very few of the guests who dine at Rolf Hiltl are die-hard vegetarians. According to Matthias Freuler, the proportion of "part-time vegetarians" is 90 percent.
In the print motifs, the initial positioning was continued with the motif of a mosquito feeding on the juice of a tomato and illustrated with the motif of a snowman eating its own (turnip) nose.
In the commercial, a vegetarian novice who is eating with his sweetheart in a veggie restaurant makes a mistake. He eats the rose he receives from a flower seller, believing it to be an amuse bouche offered by the establishment.
"The movie will probably be a howler. It shows a Hiltl restaurant that can smile about itself, about vegetarians and about the resistance that men still have to vegetarian food more than women," says Freuler. Ernst Weber

BOL.de Managing Director Arndt Roller on the future of Internet booksellingBy Carlo Bernasconi 33-year-old business graduate Arndt Roller has been involved in the brand development and restructuring of book and music retailer BOL from the very beginning. Since January 1, 2002, he has been solely responsible in Munich for the business of the German and Swiss sites of BOL, an e-commerce company of the Bertelsmann Group.
What kind of situation did you find at BOL on the first day of the new year?
Arndt Roller: I found a business that was in a steep growth phase and still is. But a growth business with a clear cost problem at the same time. My aim is to continue to promote growth and focus more on the business side without the customer noticing.
Where did you run out of costs?
Roller: The costs have not run away from us. For us, it was and is the expenses for backend and structure that have normally caused high costs. When they grow, you pay an upfront fee to be able to live off them in the future. Now it's about finding out where we can improve our margins and our contribution margins and how we can get our overhead costs under control. Then we will have a profitable business. That's the challenge for me.
BOL has invested a lot of money in marketing communication in Switzerland and has now scaled it back. Has the desired traffic already been achieved?
Roller: BOL was not a brand when we started. And the aim was to create awareness in a fast-growing market within a very short space of time. Hence the very clear conclusions: We advertise offline, in TV commercials and radio spots. You can't do this with the same intensity for years, but there is a clear time frame after which you have to take a step back. That's what we're doing now.
How do you further strengthen the brand?
Roller: We have built up a large customer base in Switzerland and good brand awareness in a very short space of time. The goal for us now is to win new customers and focus our marketing investments, less visibly, on our existing customers, and for us that means a stronger online presence. You can see us on Blue win.ch, on Blick.ch. We no longer see ourselves on TV, but occasionally in print. It's not that we're doing without it completely. What we will no longer do is have a permanent TV presence because we can no longer afford it and no longer want it.
How much does a new customer cost you?
Roller: We do not make this information public. We believe that we are very efficient in our new customer business.
How do you reach new customers?
Roller: Very strongly via online advertising. We have the whole range in the online marketing mix. We work very strongly with the affiliate program. What we must not underestimate, and this is very important to me, is member recruitment through members. We have a lot of word of mouth, and that's the nicest kind of advertising because you don't have to spend money on it. If you have a good product, satisfied customers will talk about it.
How can you tell if your product is good?
Roller: There are many tools you can use to improve the quality of your
of your product. For me, the most convincing factor is the repeat order rate. How often does someone who has ordered from you come back? I'm satisfied with that. But it could be even better. So: acquire new customers cost-effectively and then regularly ensure that customers come back and are satisfied without spending a lot of money.
BOL is always listed in third or fourth place in the Swiss Internet panels. Are you satisfied with this situation?
Roller: We want to make our customers as satisfied as possible in order to derive commercial success from this. So the goal is not necessarily to become the number one in Swiss e-commerce. Of course, I could also strive for market leadership, but I don't think that would be economically viable. We would invest a lot of money in marketing, which would then not be profitable.
How high is the share of book sales in total sales?
Roller: The value is between 66 and 75 percent.
How important is country-specific content for sales?
Roller: We generate around ten percent of our sales in Switzerland with purely Swiss titles. You can't conclude from this that the importance is reduced to a tenth. Our Swiss customers attach great importance to having Swiss products on the homepage. The fact that we have moved the management of the Swiss homepage to Munich has to do with business reasons that are of no interest to Swiss customers. This is about database management and logistics software issues. We don't have to reinvent the wheel twice.
Back to the question about BOL customers from Switzerland. Is there an urban-rural divide?
Roller: That's information I can't give you. Because I don't want to talk about the composition of our customer structure - for obvious competitive reasons.
What growth rates are still achievable in e-commerce after the collapse of the Internet boom?
Roller: I can clearly say that BOL has never experienced zero growth. Last year, we achieved clear double-digit growth in Switzerland. The Swiss book trade, like the German book trade, is currently stagnating. But the e-commerce sector is excluded from this. Our target for Switzerland this year is double-digit growth.
BOL will remain a purely online business and will never be converted into a click & mortar company? You could rent space at Coop, for example...
Roller: (laughs) I'm like James Bond and never say never. But for the foreseeable future, we will concentrate on what we do best: Online mail order. We won't be putting our resources into a business that we still know little about.

The new managing director Asta Baumöller is to upgrade the music channelBy Daniel Schifferle With the planned purchase of the majority of shares in Viva-Swizz, the music channel is to be given more speed and a more homogeneous look. To this end, design specialist Asta Baumöller has taken the helm at the Swiss station.
It was only at the end of June that Viva announced the acquisition of the majority of shares in Viva-Swizz - with the proviso that the licensing authority also approves the deal. On July 1, Asta Baumöller took the helm as the new strong woman at Viva-Swizz. The plans of the 35-year-old TV all-rounder are ambitious: "We will now really step on the gas again. Because the aim now is to turn a good channel into an even better, more professional channel." Viva-Swizz has established itself well. However, it has now reached a point where "the next level" needs to be reached. "We want to bring even more creativity into the store and achieve a more precise positioning of the brand," Baumöller specifies.
Over the past seven years, the qualified design specialist has worked for Viva at home and abroad in practically every position that a music broadcaster can offer. She has experience in commercial and artistic areas of program development, in pop music and in brand management. From 1996 to 2000, she was Creative Director for the visual appearance of the Viva stations in Europe, winning many international design awards.
"In terms of design, we will achieve a more homogeneous appearance and we will bring more speed to the whole story," says Baumöller. Above all, however, she also wants to strengthen Viva-Swizz's recipe for success - a high proportion of Swiss artists. She sees potential for expansion in the hip hop segment in particular. "In order to increase the proportion of national clips, we will work closely with the Swiss music industry," she announces.
Has the new Viva Swizz boss also come to Switzerland with a view to the planned MTV program window (WW 26/02)? Baumöller is relaxed about this. "We don't think much of program windows without a local presence. Without a presence in the broadcasting area, you don't really get the relevant trends." She also points to MTV's weak position, which only achieves around half the market share of Viva-Swizz.
Despite this situation, she is currently pleased that Su-zanne Speich, co-founder of Viva-Swizz, has agreed to remain a delegate of the BoD for another year. "Ms. Speich has many valuable contacts that we don't want to do without just yet."

In addition, Christian Sager took over from Manuel Schaub at Mediabox Print GmbH at the beginning of July. Sager was previously Head of Media at Universal McCann.
At the beginning of August, André Michel takes over the management of the Ringier financial platform Borsalino.ch from Hans Fischer.

Dave Jäger has been Head of Advertising at Europay (Switzerland) SA since the beginning of July. He is responsible for communications for the MasterCard/Eurocard, EC/Maestro and Cash brands.
Following the resignation of Iris Hildebrand, the Zurich Advertising Club has completed its Board of Directors at its Annual General Meeting (AGM). Michel Bronner, owner of MB Veranstaltungsagentur, is the new treasurer and head of the office. All other Board members were re-elected. Valentina Kastrati is now in charge of the office. She is taking over the role from Christiane Caviezel, who also stepped down at the AGM.
Filippo Leutenegger will be replaced as CEO of Jean Frey AG by Peter Kümmerli, head of the Beobachter publishing house.
The PR agency Stöhlker has a new co-owner: Senior Consultant Stephan Oehen acquires a minority stake in Klaus J. Stöhlker AG. He is appointed Partner and takes on the roles of COO and Vice Director.
From July, marketing planner Manuela Schwab will be working as Sales Manager for the acquisition of new customers at the Biel-based advertising agency Leuenberger.
As Managing Director, Karin Müller takes over the internal management of the Zurich scene marketing agency Mosaik Marketing + People AG. Owner Marc Schürmann remains CEO and represents the agency externally.
AD Pascal C. Baumann joins AY&R on August 2 after two years at Think Software. Lukas Zihlmann is the new Managing Director of the advertising expenditure research company Media Focus. He took over the position, which had been vacant since the departure of Hans-Jürg Gränicher at the end of April, at the beginning of July.
The cross-media company Goldbach Media has a new Chairman of the Board of Directors. Rosmarie Michel hands over the office to Peter A. C. Blum, but remains a member of the Board of Directors. Joachim Schoss, CEO of Beisheim Holding Schweiz AG, is also a new member of the Board of Directors.

The technology group Canon (Switzerland) has entrusted DDB Zurich with the communications management of its office equipment division.Etat-News DDB Zurich wins Canon DDB prevailed in a competitive presentation. In addition to a brand campaign aimed at repositioning the entire business sector, flanking measures and below-the-line activities are also planned.
FKP supports Ferrum Rupperswil The agency FKP Identity, which focuses on corporate communication, has won the advertising budget of Ferrum AG Rupperswil AG. The industrial company is active in foundry, canning, washing and centrifuge technology. FKP Identity is revising Ferrum's corporate design and putting its overall communication on a new footing. The agency from Dietikon came out on top in a pitch against Dachcom.
Swiss lets four agencies pitch The airline Swiss Air Lines has launched the second phase of its agency evaluation for marketing communications. Four agencies are now to present a long-term creative strategy for Swiss advertising. The second round includes Euro RSCG, Jung von Matt/Limmat, Weber Hodel Schmid and Wirz Werbung. Lowe, Publicis, Lesch+Frei and the former Swissair agency Advico Young & Rubicam have been eliminated.

Call for Entries for the Swiss Commissioned and Advertising Film AwardThe race is open again: Until August 28, advertising agencies and Swiss film productions can submit their commissioned films, TV commercials or multimedia productions for the Swiss Commissioned and Commercial Film Award Edi.Honor to whom honor is due. What succeeds in the market should also be in the spotlight of public recognition - says the Swiss Film and Video Producers Association about the Edi motto. The Swiss Commissioned and Commercial Film Award is presented once a year by the Federal Department of Home Affairs (FDHA) in recognition of the high cinematic quality of the work submitted. Commissioned productions and presentations in which the audiovisual design forms an essential component and which are considered Swiss productions within the meaning of the Ordinance to the Federal Film Act are eligible.
Productions from the last twelve months are eligible. The jury has been determined, but has yet to be confirmed by the FDHA and will only be announced by name after the summer break. Andreas Panzeri
The closing date for entries to the competition is August 28, 2002. Productions should be sent together with the completed entry form (www .edinet.ch) to: SFVP Swiss Film and Video Producers, Theaterstrasse 4, 8008 Zurich. More information on Edi, the Swiss commissioned and advertising film prize, will also be available from July 12 at www.edinet.ch or www.filmproducers .ch.

TSR informs teachers about the expertise of the private teaching materials publisher Klett and BalmerBy Ernst WeberThe teaching materials market for lower secondary schools is on the move. Private providers are trying to take the reins out of the hands of state publishers. The Zug-based publisher Klett und Balmer is looking for allies among teachers with a campaign designed by the TSR campaign office in Zurich.
According to an estimate by Peter Feller, director of the teaching materials publisher of the Canton of Zurich, the Swiss teaching materials market in the lower primary school sector is worth a good CHF 100 million. However, it is a market dominated by state teaching materials publishers. The state publishers, which have joined together to form intercantonal interest groups such as the Intercantonal Teaching Resources Center (ILZ), make business difficult for private providers. As a result, only a few non-state publishers achieve a significant market share. For example, the educational publisher Klett und Balmer (KB), founded in 1967 by the Stuttgart publisher Ernst Klett and the Zug bookseller Rudolf Balmer, which, according to its own figures, achieves a turnover of 11 million Swiss francs with primary school books developed in-house.
Kurt Scheuermeier, Head of Marketing at KB, gives the current market constellation miserable marks. However, when he talks about a planned economy, he fails to mention the historical interdependencies: in 1891, the then Director of Education of the Canton of Zurich, Alfred Escher, gave in to pressure from the teaching staff, who demanded cantonally defined teaching materials. Their main arguments were equal opportunities for pupils in the event of transfers and changes of residence, a say in the development and evaluation of teaching materials and the greater cost-effectiveness of a cantonal edition.
Collecting good grades with a textbook campaign
"Each canton is sovereign to decide whether it wants to approve a teaching aid or declare it compulsory. Whether a request is made by a private or state publisher, the decision to approve it always lies with the teaching materials commission," says Peter Feller, defending himself against the accusations from the private publishers' camp. State publishers also offer private teaching materials. The LVZ, for example, purchases around a quarter of a million francs worth of teaching materials from KB every year, says Feller.
Martin Stauffer from the Swiss Conference of Cantonal Ministers of Education (EDK) has even noted a trend towards the privatization or partial privatization of teaching material publishers in some cantons. In the interests of freedom of method, fewer and fewer teaching materials are being declared compulsory.
KB is using this market phase to collect good ratings for its own books with a campaign. The schoolbook-style illustrations point to subjects in which the private publishing house plays to its strengths. The advertising motifs are broken up by a corresponding campaign headline. The geography subject, for example, which shows a surfer in the Antarctic, is entitled: "One day your pupils will be glad they learned geography with Klett."
"The campaign is intended to show what would happen if KB were not represented in the primary school market," says TSR consultant Wolfgang Bollak, explaining the implementation.
AD Rating

Klett and Balmer campaign
The ad raters have clicked their fingers blue because of Postfinance. Oh dear! Now for something completely different: advertising for school books. Logo, can also be rated at www. werbewoche.ch/adrating
Postfinance campaign
Top: 28,98%
Flop: 71,02%
Praise and criticism of ad-raters summarized at www.werbewoche .ch/adrating/comments

LGK continues to charge the image of the 1to1 energy brand with emotionBy Simone Keller A year ago, Lang Gysi Knoll (LGK) introduced consumers in the Mittelland region to the 1to1 energy electricity brand with a "Dialog" campaign. In the run-up to the vote on the liberalization of the electricity market, the current campaign - also by LGK - aims to further increase awareness and acceptance of the brand.
If the Swiss electorate says yes to the Electricity Market Act (EMG) on September 22, nothing will stand in the way of the liberalization of the electricity market. A positive decision will give consumers freedom of choice with regard to the type of production and origin of electricity.
With a view to free competition in the electricity market, Bernische Kraftwerke AG (BKW) joined forces with 40 electricity utilities in the Mittelland region a year ago to launch the 1to1 energy brand. The aim of this sales cooperation is the joint development of new electricity products and the optimization of service and product quality. In order to communicate the brand values - customer proximity, openness, dialog orientation and emotionality - even before the opening of the electricity market and to further anchor the label, those responsible are once again relying on an advertising presence by the Bernese agency LGK.
According to CD Simone Quast, its launch campaign achieved around 50 percent awareness after eight months - not least because pronunciation and spelling had led to discussions and ambiguities. Although the current campaign is reminiscent of its predecessor in terms of the emotionality of the visuals, it pursues a different strategy: "We've taken a step forward from purely asking questions to a very simple bracket," says the CD, commenting on the new style.
This bracket consists of the claim, which is as simple as it is pointed: "Electricity is. 1to1 energy." On this basis, in addition to various print subjects, three TV and cinema spots were developed that dramatize everyday situations in which electricity flows: A little Agassi bravely beats the ball machine in a match, the drinks machine in the office spits out nothing because it's not connected to the circuit, and an old couple has fun at an amusement park at night. "We want to position the brand as first coming in through a smile," Quast reveals, adding, "It was important to maintain the same eye level, because 1to1 energy communicates person-to-person." In addition, he says, it became apparent that consumers now wanted some kind of explanation of what this brand actually was.

After 80 days in office, the new Tamedia CEO Martin Kall presents his corporate strategyBy Daniel Schifferle With the announcement of the new corporate structure, Martin Kall outlines the scenario of an offensive Tamedia. A lengthy acquisition and cooperation policy in the print and radio sector is the order of the day. There are winners and losers in the management team.
Martin Kall, who has been CEO at Tamedia for 80 days, has announced his own vision. The new strategy draws a line under a difficult period. However, after the debacle with TV 3 and Winner, the next gallop is already on the cards. This time with print and radio. Kall announces a lengthy purchasing and cooperation policy - as a basic recipe in a densely populated media market. "We have to become more entrepreneurial and more medium-sized," says Kall, describing his new forward strategy.
He wants to organize Tamedia more effectively and clearly. This will be achieved by focusing on the three divisions of newspapers, magazines and electronic media. Long-established Tamedia executives will take their places in the management positions. This is a sign that the time for experiments is probably over for the time being.
Jürg Brauchli, Deputy Chairman of the Executive Board, heads the Newspapers division. Alexander Theobald will head the Magazines division. His task will be to expand Tamedia's position as the current number two in the Swiss magazine market. There is an unexpected solution in the electronic media division. This will be headed by Andreas Meili, the previous Head of Legal Services. In recent months, Meili was responsible for the successful acquisition of Radio Basilisk.
The choice of a person who has not previously managed a publishing house or editorial office is also an expression of where the electronic media sector is heading. In radio, further cooperations and acquisitions are on the cards, and a lawyer is the right person for the job. "Our aim is to build a family of stations with radio in German-speaking Switzerland," says Kall.
Belcom boss Christian Stärkle did not make it to the post of head of electronic media. However, Stärkle clearly distances himself from resignation rumors in this context. "Of course you think about every structural change, but I haven't really given much thought to the idea of resigning," Stärkle told WerbeWoche. And he adds: "Nothing will change in terms of my responsibilities."
An offensive is also called for in print media
Kall announces a strategy clearly focused on print, although he does not conceal his concern about the current position. "The gap between the other regional newspapers and the Tages-Anzeiger has narrowed in recent years," says Kall. He will keep all options open for his offensive course - especially in relation to 20 Minuten. Both acquisitions and cooperations are conceivable. "It's about intelligent concepts and intelligent cooperations," says Kall, citing the Mittelland Zeitung model as a good example.
He is focusing on Switzerland in the medium term. "In the next five years, there will be fantastic opportunities and unique chances in the Swiss media market," he says. The company may turn its attention to other countries later. Kall has set himself a horizon of five to ten years for his confident expansion strategy. "We have to work our way up with patience, it takes a lot of time."
The new structure is also taking its toll. In addition to the departing René Gehrig, previously Head of Publishing Marketing, numerous other employees will also have to come to terms with changes to their positions and responsibilities. Hans Jürg Klöti, who has been responsible for advertising for the entire Group for six years, is losing his previous role. He is now only responsible for the newspaper advertising market and for key account functions. He does not see the change as a demotion, he says. Klöti: "My previous function is no longer needed. I can live with that."
According to Peter Hartmeier, all those affected by downgrades and transfers have been informed. They were also given a few days to think things over. "There were no problems, everyone accepted their new situation," says the
Tamedia spokesman. The result surprised him with its clarity.
Among the losers is Philipp Löpfe, editor-in-chief of the Tages-Anzeiger, who is no longer a member of the management board. In the new structure, editors-in-chief and program directors can concentrate fully on their journalistic tasks, is the reason given.
The so-called Publizistische Konferenz (PK) is constituted as a new body in August. It will be chaired by Hans Heinrich Coninx and deputized by Martin Kall. All editors-in-chief, program directors, the online director and the head of corporate communications will be members. The PK discusses the journalistic orientation of the titles, reflects on content and advises the journalistic management on journalistic issues. "However, we will not install a chief journalist under the direction of the publisher; internal journalistic plurality remains our goal," Kall explains.