Is it obvious, or am I imagining things when I look at these ads? Be that as it may, the two models look amazingly similar - and the postures of their bodies, one advertising underpants and the other shoes, are also amazingly similar. Just as freelance copywriters or journalists work for several clients, freelance models probably have to work for various fashion houses. It only becomes conspicuous when the two advertisements are only a few pages apart, as in this case. You can see this for yourself in the new Wallpaper issue. The perspectives are also revealing. While the shoe ad focuses primarily on the position of the two upper bodies, D&G succeeds in capturing the eye on the merchandise. Chandra Kurt [email protected]

The side jump
From Anna Esposito
The NZZ used to provide the lead-heavy content, and Blick was simply a revolver paper. While the Alte Tante formed opinions, the outpourings of the gossip league stimulated completely different zones. That's over now. The Blick for the weekday and the Blick for Sunday are now on a par with the Osservatore Romano and are engaging in double standards, because that's really cool. Mr. and Mrs. Bünzli's favorite newspaper, which likes to present us with blutti Wiiber and just doesn't see the exact facts so clearly, now reports the naked truth. It is only a small, unproven leap from the primitive stink finger against evil foreigners to the raised index finger against ambassadors abroad. It's no wonder that this change of media power has taken place, since behind all the printing ink a shining light like Michael Ringier is preaching the highest commandments. After his publishing house lost Weltwoche, Beobachter and other sacred cows of Swiss press culture, he was heard to proclaim that there were simply too few good journalists in Switzerland. He was considering importing an intelligentsia from Germany. In this light, the true aim of the whole campaign against the Borer couple is now revealed. A few clever Ringier consultants have located the ultimate 2-for-1 power pack. Of course it's Shawne, the beautiful Fielding, who they wanted to bring home. As a journalistic reinforcement for Ringier, she combines two eye-catching advantages. She can serve as a Page 3 girl at any time and at the same time, almost instantly, provide a lot of gossip. But the southern belle will respond to the offer of millions like Rhett Butler once did to Scarlett O'Hara at the end of "Gone with the Wind": "Frank, my dear, I don't give a dime."
[email protected]
Anna Esposito is a copywriter and co-owner of Brot und Spiele, Zurich.
Business lunch

Pasta has a stronghold here
Once guests have crossed the threshold, they are in another world. In Mauris La Rocca's world. La rocca means the rock, the fortress. And that's not so wrong, because the restaurant has two levels, one of which is elevated: You are enthroned solemnly above the other guests and feel like you are on a balcony. However, it is a little cramped on this gallery - if Mauris threw out two or three more tables, you could even invite full-blown claustrophobes to dine here. But no, he wants to expand - let him. That's why it's less suitable for discreet business meetings.
For the second time, we ate there not at lunchtime, but in the evening and polished off 500 francs between the two of us. Well, half of the bill was probably for Gaja's Chardonnay and less for the food. Lunch is reasonably priced. There are three menus to choose from, ranging from 25 to 39 francs. But that's just a plate of the day plus salad. If you want to devour a plate of pasta beforehand and a dessert afterwards, you can easily end up with sixty francs, more or less. Is it worth it?
Sì, sì. The pasta is fresh, beautifully arranged and presented to the guest at the table in its raw state before being tipped into the simmering salt water bath. This stimulates the imagination and the first small appetite is satisfied with home-baked olive bread. You won't be disappointed when the result of culinary skill is on your plate. The second course, grilled sea bass with vegetables, seems less inspired - but the consistency and taste remain impeccable. No wonder, after all, there is a grill right by the entrance and the maestro exudes a great deal of expertise in his chef's white blouse as he directs the fire and flame with grill tongs.
Of course, this is not alta cucina. And when it came to dessert, the dinner fell a little flat: The cassatta came from a packet that I always leave out at the supermarket... What a shame. There are three wines by the glass at lunchtime, one of which is in my kitchen, is extremely pleasant with a plate of spaghetti and costs 9.80 francs a bottle at Vergani. The Siebendezil list is more extensive. A beautiful garden beckons in summer. Carlo Bernasconi [email protected]
Ristorante La RoccaLimmatstrasse 273
8005 Zurich
Tel. 01 271 92 77
Fax 01 272 72 98
Parking spaces are a matter of luck in this neighborhood.

At its general meeting, the industry association of Swiss advertising and communications agencies (BSW) elected Hervé Devanthéry (Synthèse, Ecublens), Christoph Kaufmann (OMD Switzerland, Zurich), Peter Leutenegger (FCB Leutenegger Krüll, Wallisellen) and Andreas Widmer (Futurecom Interactive, Zurich) as new members of the board. Kaufmann and Widmer are the first representatives of media and specialist agencies to sit on the BSW Board, while Fredy Collioud (Publicis, Zurich) and Peter Felser have resigned from the Board. According to the Articles of Association, he must leave the Board when he resigns from Advico Young & Rubicam.
As expected, Hanspeter Detsch (TBWA Switzerland) was elected President. The new president-elect, who will take over the presidency next year, is Dominique von Matt (Jung von Matt/Limmat).
Following her departure from Publicis, Zurich, at the end of 2001, Diana Strebel may no longer be a member of the Board of Directors. She is stepping down until her new position is known. Should she return to work at a BSW agency, she will sit on the Board again (ba).

Illustration is increasingly being used again in advertisingBy Ernst Weber Illustration is increasingly being used again in Swiss advertising campaigns. They allow for a detailed and targeted presentation of a product or lifestyle. The question remains as to whether the renewed increase in illustrated appearances has to do with consumers' fears or merely with the zeitgeist.
In recent years, illustration has not played a leading role in image and brand advertising. Apart from exceptions such as the animated films for Red Bull, which supposedly gives you wings, and the Always sanitary napkin, or the appearance of Mobiliar insurance, Swiss umbrella communication was visually dominated by photography. The use of illustration was limited to subordinate advertising media such as individual motifs and promotional advertisements as well as to visually livening up annual reports, for example.
Illustrations can be used to advertise (almost) anything
Photography will probably remain the primary means of visual expression in advertising in the future, but illustrated umbrella appearances and brand campaigns have been increasingly appearing in the long-closed ranks of photo campaigns for the past year.
This is not the first time that an accumulation of this kind has occurred. Thomas Lüber, CD at Lesch + Frei (L+F), Zurich, and Zurich illustrator Christian Kitzmüller observed the phenomenon back in the early 1980s. At that time, airbrush technology was in vogue. Illustrated campaigns also came into fashion for a short time in the middle of the following decade (WW 42/95). And now a new wave of illustration is rolling over Swiss advertising.
This is reflected, for example, in the fundraising campaigns that L+F designed for Zoorama - the children's zoo at Zurich Zoo - and for the aid organization Swissaid. In the latter case, the impetus came from Swissaid. "A photo could have given the impression that a specific person was meant," says Werner Küng, Head of Information and Fund Raising at Swissaid. Furthermore, in a photo-realistically illustrated image campaign by the same agency for the Eichhof brewery. Euro RSCG, Zurich, also recently used the illustration in an appearance for the virtual Habbo Hotel of telecom provider Orange. The fashionable horrors spread by the Big fashion brand in a poster designed by Ruf Lanz are depicted using a combination of photography and illustration. In a new reader campaign for the NZZ Folio, also designed by Ruf Lanz, illustrated visuals carry the core message. And on television commercials, a fluffy illustrated bear is currently explaining the properties of the new Charmin toilet paper to viewers.
The most recent example of an illustrated brand image is a campaign by Wirz, Zurich, for the legendary Italian post-war scooter Vespa, which was invented by Corradino d'Ascanio and Enrico Piaggio in 1946. Piaggio, owner of an armaments factory that was shut down at the end of the war, wanted to prevent his 12,000 workers from being left on the streets by building the Vespa.
Today's pin-up style illustrations are in keeping with the history of the scooter. It doesn't seem artificial that they try to evoke the Italian attitude to life that accompanied the reconstruction of the country back then. Surveys have shown that this memory is still alive in today's target audience: "The Vespa brand was associated with names such as Sophia Loren and Cary Grant, and respondents somehow mourned this vanished world," says Sven Oeschger, Strategic Planner at Wirz.
The massing can be explained logically and plausibly
Various reasons are given for the relatively sudden increase in illustrated appearances. Wirz-CD Matthias Freuler, Thomas Lüber and agency owner Markus Ruf - all of whom only use illustration when a conceptual necessity demands it - attribute the massing to coincidence. The cyclical appearance of drawn advertising messages is explained several times by an oversaturation of perception that occurs after a prolonged photographic period. Lüber says: "Photography is probably a little exhausted at the moment, which is why people are now resorting to the stylistic device of illustration again." Both Matthias Freuler and Christian Kitzmüller associate the increase with a shortage of money, which at the moment often leads to budget cuts.
"Orders are increasing at the moment, even if not everything is realized. In order to save the costs for the model, the extras, the location, the stylist and the make-up artist, illustrations are being used more often for elaborate pictures," says Kitzmüller.
The greatest consensus is the perception that every illustration - no matter how photorealistically drawn - is an illusion. Lüber, for example, attests to "an additional dimension that photography can no longer express". Kitzmüller classifies photography as suitable for presenting something as particularly realistic, sober and credible. Banks and insurance companies in particular often use it for this reason. "With a photo, you always have the feeling that it is a reflection of reality. But if you want to portray an illusion or dream world, illustration is more suitable," says Kitzmüller. Zurich-based illustrator John Hollander agrees: "Many people think that a photo is more credible."
Are illustrations piling up in times of discomfort?
The question remains as to why the advertising world has chosen the present moment of all times to escape into the illusionary world of representation. The attempted answer is based on the philosophical view that people cannot bring anything into the world that is not already inherent in them - a common feeling, for example, that moves an entire society at a certain time, such as the Italian post-war feeling described above.
The prerequisite for this is, of course, the ability of artists and creatives to perceive overall feelings of this kind and unconsciously reflect them in their advertising work.
According to this, one answer to the more frequent occurrence of the illustration could be that consumers currently feel an increased need for illusions. This need can be triggered by a feeling of uncertainty, for example. A feeling that has been on the minds of many since the economy has clearly been in decline, violence is on the rise, crises are escalating and fear of terrorism is rampant.
Since it is the task of advertising to present things in a favorable light, it tries to satisfy this longing of the consumer. To do this, it presents them with the illusion of childlike innocence, which illustration probably expresses per se. Drawing is an activity that is primarily practiced by children with no specific ("innocent") purpose.
Daniel Süess, communication and media psychologist and lecturer at the University of Applied Psychology in Zurich, says: "Illustration is certainly more abstract than photography and is therefore further removed from the depiction of reality. In the public's perception, it is more strongly designed and further removed from everyday life. If everyday life is experienced as difficult and oppressive and is associated with anxiety, then people prefer to turn to a designed world in order to develop positive feelings."
This assumption is supported by the fact that the two most recent clusters also occurred in problematic times: At the beginning of the 1980s, forest dieback dominated public debate. There was a general awakening of environmental awareness. In the mid-nineties, the USA intervened in the Balkan conflict. Europe's powerlessness to resolve the wars in the former Yugoslavia on its own became apparent.

Consumer critic Kalle Lasn on his anger and the "mindfucked generation "By Oliver Classen For twelve years, the Adbusters have been the nightmare of every marketing boss. Kalle Lasn, founder and head of the Canadian anti-advertisers (see also the article on page 14), now wants to let his subversive ideas take root in Europe.
In addition to Adbusters, a second media-critical magazine existed in North America until the end of last year. This was called Brill's Content after its publisher and its subtitle warned that "skepticism is a virtue". Adbusters does nothing else in principle, but is steadily gaining circulation.
Kalle Lasn: We were sad to see Brill's Content go, but not surprised. The magazine had two weaknesses: It was mainly journalistic navel-gazing with insider stories, and this in a rather old-fashioned, academic style. Even the most honorable enlightening intentions are of no use if the first flip through the magazine leaves you bored.
Adbusters dresses its consumer and cultural criticism in avant-garde design. Is this youthful fun factor the key to success?
Lasn: Our work is not part of the fun society, but an alternative to it. What sets us apart from most alternative press products is probably the Adbusters-specific mixture of idealistic passion and technical professionalism. We have a message and we know the most efficient way to get it out to the people, namely with our own media and advertising campaigns. This social campaigning and subvertising is always a lot of fun, despite the seriousness of the matter. And this is also reflected in our articles and campaigns.
Since 1989, in addition to Adbusters Magazine, you have also founded the Powershift agency and a foundation for independent media. Where do you get the energy and persuasiveness that you have used to create this network of activists?
Lasn: Out of my unbridled rage. It makes me angry that half a dozen media corporations control over half of all the news and entertainment distributed worldwide. Attention must be drawn to this dictatorship of opinion, using all the tricks of the trade. The mental pollution caused by advertising is no less serious. The fact that Adbusters is not alone in this assessment and has a lot of sympathizers, especially in the communications business, is nice, but not really surprising. After all, more and more people today are aware that our planet is being systematically cluttered with advertising and so-called information. But the people who really know it are those who produce this junk every day, i.e. advertisers and journalists. Together with designers and artists, they form the backbone of our global network.
How many such "culture jammers" ("deniers of consumer culture") do you reach today with Adbusters Magazine and adbusters.org?
Lasn: Our website attracts around 10,000 visitors a day, and the trend is rising rapidly. We currently have around 60,000 registered users who are also recipients of our newsletter. The circulation of the magazine is also exceeding all expectations and currently stands at just under 100,000 copies. We sell three quarters of these in the USA and Canada, and the rest overseas. Most euro-
We have European subscribers in the UK and Scandinavia, but the Netherlands and German-speaking Europe are also growing markets where we want to increase our presence via kiosk sales.
Your organization benefits greatly from the anti-globalization movement. However, it has now passed its zenith.
Lasn: You think so! My impression of the protest front is quite different. Many activists, especially of the younger generation, feel so psychologically abused by their childhood, which was marked by brand dictates and TV terror, that their anger at the consumer society will not fade for a long time. "They mindfucked us. It's time to fuck them back now." This was a memorable motto of the Seattle stone-throwers. The fight against media bullshit, "corporate criminalism" and its devastating effects on the collective psyche has only just begun. Seattle was, so to speak, the storming of the postmodern Bastille. Now the second French revolution is gaining momentum ...
... and has already claimed its first victim in Genoa. Are violence and illegal campaigns such as the Adbusters "Liberating Billboards" campaign legitimate means of social criticism?
Lasn: Every cultural revolution had its violent side. For me, the liberation of billboards, for example, is part of the contemporary spectrum of civil disobedience. We make use of this and occasionally expand it. As for the radical rioters, I think their excesses are a problematic but ultimately integral part of the movement. Without a few broken pieces, bruises and one or two martyrs, such political processes will not go away.
In your view, protest and pacifism are mutually exclusive. But you don't seem to be bothered by the fact that your book "Culture Jam" is published by Rupert Murdoch's Harper Collins.
Lasn: (laughs) We are all walking contradictions and live in a hall of mirrors of compromises and opposites. The fact that my favorite enemy Murdoch, of all people, bought the rights to my first work is, after an initial feeling of disgust, not so unjust. Some subversive ideas travel the fastest and furthest when you send them out into the world as a Trojan horse.
The first Adbusters branch went online in Norway at the end of last year. When will the first German-language branch open?
Lasn: The guys in Oslo started this initiative with the approval, but without any concrete support from our head office in Vancouver. We have no objection to our name and logo continuing to be used. For example, for independent adaptations of our magazine, as they already exist in French and Hebrew. What's more, further internationalization of Adbusters is a top priority. So if there are any interested parties from Switzerland, please let me know.

Andrea Hemmi is the new Head of Corporate Communications at McDonald's SwitzerlandHead of the week "I enjoy the francophone lightness "Andrea Hemmi's first relationship with fast food giant McDonald's dates back to her childhood. When the first branch of the hamburger roaster opened in Lausanne, Andrea discovered the cheeseburger, which remains her favorite to this day, while visiting relatives in French-speaking Switzerland. At Trimedia, Andrea Hemmi got to know the many facets of McDonald's as a consultant, so that today, as Head of Corporate Communications for the happy meal provider, she is joining a company that she already knows quite well.
At the moment, she is still commuting between Zurich and Lausanne, rushing from one meeting to the next to familiarize herself with her new role. Despite the hectic pace, she enjoys, as she puts it, the francophone lightness that has accompanied her work since mid-March. Hemmi sees the fact that the company is located in French-speaking Switzerland as an added bonus. Andrea Hemmi values McDonald's as an employer above all because the company is innovative, continues to develop, has made a difference in the public eye, is close to its customers and has a strong image. Andrea Hemmi wants McDonald's to cultivate an information style that treats all parts of the country equally.
The author of "Flamingoküsse" will have to put her writing on the back burner in the future. Although even as a little girl she was eager to use her index finger system to write and let her imagination flow into little stories, Andrea Hemmi cannot imagine working as a professional author. She is convinced that it would be too much backbreaking work and certainly not as much fun. Writing should remain her hobby. She has not ruled out writing another book, but Hemmi does not want to be tied down to one topic. At the moment, her head is filled with other things than new novel projects anyway, she reveals. What's more, she wants to delve deeper into the French and English languages - and not just for professional reasons.
Although she had appreciated the versatility of the consultancy job at Trimedia, she wanted to get closer to the media front in order to maintain direct contact with the public. She was also passionate about doing this for her former employer, TV 3, whose abrupt end kept the press spokeswoman busy for a long time. Although she always kept the worst-case scenario in mind, she was surprised at the emotions the end of the station triggered in her, she says, looking back on the debacle in downtown Schlieren. Anita Vaucher

What was the last cultural event you attended?
Keith Loell: The Punch and Judy show in the park in Grüene. My son knows what's funny.
What are you reading right now?
Loell: "The Foucault Pendulum" by Umberto Eco. Murder, humor, religion, conspiracies - what more could you want?
Which CD do you currently prefer to listen to?
Loell: The soundtrack to the movie "Oh Brother Where Art Thou?"
Which movie would you most like to see again?
Loell: "Snatch".
What TV show did you fall asleep during the other night?
Loell: What is TV?
What is your latest discovery on the Internet?
Loell: www.theonion.com
What could you never do without?
Loell: To my wife and child.
What do you do in a free minute?
Loell: Meccano.
Love is ...?
Loell: ... everywhere.

Despite the downturn in the advertising market, LZ Medien Holding's consolidated sales of 134.9 million francs in 2001 remained almost at the previous year's level (135.5).
Group profit fell by 11.9 percent to CHF 8.9 million. Neue Luzerner Zeitung AG contributed CHF 110.7 million to Group sales. Of this, CHF 65.5 million is attributable to advertising revenue, which fell by 6.6 percent.
SMD open for money From April 3, the Swiss Media Database (SMD) will be accessible to all paying customers. The SMD was founded in 1996 by Ringier, SRG and Tamedia as an internal press service. The company is now launching the online service www.swissdox .ch, which compiles press reviews and allows searches in the SMD archive. The basic monthly fee for using Swissdox.ch is CHF 60. An additional CHF 3.80 is charged for articles that are displayed in full text.
Pixelpark Schwarz The German Internet service provider Pixelpark has confirmed the expected hole in its cash flow: With revenues of 81.3 million euros, Pixelpark posted a loss of 20.2 million euros before interest, taxes, depreciation and amortization (EBITDA). The consolidated net loss amounted to 86 million euros. In contrast, the Swiss subsidiary closed the year with a positive result. It contributed 21.7 million euros (around 32 million Swiss francs) to Group turnover and achieved EBITDA of 0.9 million euros.
NTL almost bankrupt The British cable network company NTL, parent company of Cablecom, is teetering on the brink of insolvency. NTL achieved a positive operating result of 708.3 million dollars (EBITDA). However, the company is paying 1.2 billion dollars a year in interest on debt and incurred a record loss of around 16 billion dollars in 2001 due to the devaluation of its shares. NTL is now negotiating with its main creditors to convert 11.5 billion dollars of debt into new shares.

Swiss takes off from the runway of the past for a flight into the futureBy Ernst Weber Since Easter Monday, small Switzerland has once again had a big airline. As a prerequisite for a successful long-haul flight, Swiss must already deliver what the brand promises in the climb.
The period between the collapse of Swissair last September and the launch of Swiss last Easter Monday was a turbulent time for the communications department of the new Swiss airline. To get the brand off the ground, the 15 members of the new advertising crew worked up to 14 hours a day. The team was recruited from former communications employees of Swissair (35 employees) and Crossair (6).
The greatest difficulty in building the Swiss brand was deciding on a name and a strategy. Numerous naming options were discussed until a new name was chosen for the new brand. For good reason. The existing risk spoke against Swissair, according to which the aircraft of the highly indebted airline could have been held abroad. The name Crossair was not considered suitable for further use because of its low international profile.
Gravity is surmountable, past is not
Nevertheless, the new Swiss airline brand was not built in isolation from Swissair's past, which crashed to the ground in the nosedive of economic reality. Because the intercontinental airline sees itself as an ambassador for Switzerland, the obligation arose to also transport Swiss values such as "hospitality, quality, service and cleanliness" abroad.
Furthermore, Swiss rose like a phoenix from the ashes of its predecessor. The latter had significant brand values. For example, an attempt was made to recycle Swissair's care positioning and to integrate old Crossair values such as efficiency, dynamism and youthfulness into the new portfolio.
"Swiss is definitely not intended to become a second Swissair. It is a sensible objective to anchor the high values of Swissair together with the values of Crossair in the new brand," says Michael Boenigk, Head of Advertising at Swiss.
To implement this Swiss-Brand-Heritage strategy internationally, which was developed in collaboration with Advico Young & Rubicam (AY&R), Zurich, a sum in the double-digit millions has been budgeted. This year alone, at least another 15 million Swiss francs will be added. That's how much the international launch campaign, which will run for six weeks from April 8, will cost. The campaign, which consists of ads, posters, DM and a TV spot broadcast on Easter Sunday, was designed by the London agency Wink Media. Further brand communication to replace the launch campaign is currently being developed. It includes tactical, integrated product and partnership advertising.
There is still no homogeneous product experience
Since it would have been irresponsible to risk blind positioning at costs of this magnitude, market research was used as a pilot. It defined and verified the relevance of the new airline's brand personality. Experience, on-board surveys, focus group interviews and a study conducted with AY&R's Brand Asset Evaluator provided the data. The Quality-Made-in-Switzerland positioning is now based on this.
It manifests itself first in the visual of the fleet. The colors white and red stand for Switzerland. The reduction was intended to create a comprehensible and stylish appearance. In Switzerland, this brand identity might be perceived as arrogant. However, Boenigk explains, it should not be forgotten that the positioning must also be sustainable in markets such as the USA, Great Britain, France, Japan, Asia and the Arab world.
Furthermore, they are trying to be authentically Swiss by using Swiss products on board. "There will be no caviar on board, but we will serve Honest Food," Boenigk says. He estimates that currently still existing product deviations, such as a relatively mixed fleet, different seat configurations or a non-uniform catering concept, will only be eliminated towards the end of 2002.
"At the moment, there is not yet a homogeneous product experience of the new brand. It will take a while before the last cloth napkin is on board and the last plastic cup is sorted out," says Swiss' advertising manager.

Annabelle Business for career women is now published definitively and independentlyBy Markus Knöpfli In September, the women's magazine Annabelle launches the independent magazine Annabelle Business, a job and career magazine by women for women. As a quarterly magazine, it sees itself as a complement to more current business titles.
According to a Mach-Basic evaluation in an Annabelle business documentary, 230000 women in German-speaking Switzerland are between 20 and 49 years old, have a pronounced interest in jobs, the world of work and careers, are well educated and have a monthly income of at least 8000 francs. Many of them are also in management positions.
These women represent the market potential for Annabelle Business, especially since the majority of them, namely 167,000 female readers, do not even feel addressed by the business titles Finanz & Wirtschaft, Cash, NZZ, Bilanz and HandelsZeitung.
To be on the safe side with the new title, Tamedia undertook a remarkable additional market reconnaissance: Last May, it first launched a prototype of Annabelle Business with a circulation of 140000 copies. Of these, 110000 copies went to Annabelle subscribers, 1000 were sold separately at newsstands at 5.50 Swiss francs, and a target group mailing was realized with 20000 copies. Each issue was accompanied by a questionnaire sent in by 2481 female readers. These non-representative responses, combined with a telephone survey of Annabelle subscribers, produced the following result: two-thirds of the respondents felt that a magazine like Annabelle Business was lacking.
Reason enough, then, for Tamedia to attempt a new launch. Annabelle Business will be published from September as a quarterly, stand-alone magazine of around 100 pages, with a "guaranteed circulation of 45,000 copies," according to Tamedia. The subscription will
20 francs a year. The aim is to be able to certify a sold circulation of 20000 copies after one year, says publishing director Caroline Thoma.
Even though the new magazine is a spin-off, it will be distributed separately and primarily via newsstands for the time being. Annabelle subscribers will not automatically receive Annabelle Business. "That wouldn't make sense, because the target group for Annabelle Business is much more specific," says Thoma.
The new title will also stand out from Annabelle and Annabelle Création in terms of content, and even more clearly than in the test edition. The editorial team will remain the same. The emphasis will be on topics relating to careers and the world of work: "Women who give courage and can be role models," work models, tips on further training, careers, retirement provision, and lifestyle. The advertising rates are also fixed: A full-page, four-color ad costs 9,000 Swiss francs gross.

Just in time before its end, the book on the exhibition "Happy. The Promise of Advertising" has been publishedMore than half a year after the opening, but still in time before the end of the exhibition "Happy. The Promise of Advertising" on July 28, the book has now been published. It was worth the wait. On 280 pages, a comprehensive and meticulously illustrated documentation has been compiled on the phenomenon of "promises of happiness in advertising. How is happiness understood today? How does it come about? Which role models stand at the beginning of these ideas? - These are the questions that editor and exhibition organizer Christoph Doswald wanted to explore in his work. Against the background of the decreasing importance of religious and political values, the exhibition, and now even more in-depth the present publication, wants to investigate "to what extent the images of advertising occupy this vacant place in the orientation dispositive of a multi-optional society and what part the advertising subjects have in the creation of new ideas of roles and society".
Advertising and consumption as a world religion? Answers to this question are provided in the catalog by Stefan Oglesby and Daniela Schütz from the Link Institute, for example. They conducted a population survey, and the results provided the basis for the exhibition. In the book, they are analyzed and commented on in detail. A new and surprising finding is the great importance of social integration and altruistic family values, especially among the younger generation, which has not yet started a family itself.
In the chapter "Happy TV," Regula Bochsler and Pascal Derungs analyze how advertising ennobles products or evokes sympathy by staging happiness. They note, for example, that in contrast to the classic staircase of life, age in advertising is a period filled with vitality and "even amorous feelings." Only puberty is seen by these authors as a stage of life that is too unwieldy to be integrated into the generally prevailing advertising happiness. The young adult is seen as the most effective advertising figure on TV. These "ideal people" combine the purchasing power of working people with the attractiveness of youth.
"Happy Propaganda" shows a collection of political advertisements from more or less happy countries and systems. In a linked chapter, "Happy Agencies," eight agencies present their individual definitions of happiness in advertisements designed for the exhibition.
Further contributions come from the pens of Stefan Banz, Daniel Di Falco, Richard Frick, Tom Kummer, Liliane Lerch, Muda Mathis, Samir and Sus Zwick. Andreas Panzeri Chronos Verlag, Zurich, ISBN 3-0340-0549-0

The last official date for the industry before Easter was set by the HandelsZeitung with the presentation of its commissioned study Advertising Trends 2002.Shortlist Champagne-Sweet Trends
By Beat Fritsch
The event always attracts vast numbers of professionals from the advertising and marketing scene, and this year over 500 people once again turned up at Lakeside on the Zürichhorn. The annual advertising trend study is based on a written survey of communications managers from the 500 most advertising-intensive Swiss companies and cadres in advertising and media agencies.
There are occasional whispers that the survey doesn't reveal any more than people with experience in the industry and common sense can figure out for themselves. Perhaps that is the secret of the study's success. The results are easy to understand and plausible because you have already thought about all this yourself, but perhaps not thought it through to the end. For example, the fact that a sharp decline in the number of new web agency start-ups goes hand in hand with stagnation in the dotcom market.
For those who skipped the presentation, here's an ironclad summary of the status and development of the advertising market in 2002: no one is leaning too far out of the window at the moment, but everyone is cautiously optimistic for the second half of the year.
Quite the opposite of last year's study. Optimism was the order of the day! Well, first things come differently, and secondly than one thinks. The Americans have probably bombed the culprit for the misery to death in his bunker in Pashtun country, and if not, he could be blamed again if the forecasters miss the mark again this year. So Churchill's rule applies here, too: "Don't trust statistics you haven't fudged yourself."
Despite the subdued growth prospects, the HandelsZeitung did not let itself down. The champagne was already flowing at the aperitif, and the buffet was also a source of enthusiasm. At the buffet, we unexpectedly met Sabina Cadalbert. The former Publimedia advertising manager has returned from New York and can now be found at Onspirix. There, they are trying to crack the Swisscom monopoly of the last mile. That's the few meters from the distribution box to the telephone socket. Onspirix does this by radio because Swisscom jealously guards its cables and is determined not to allow anyone else access to this lucrative market, as Sabina explained.
At Easter, quite a few Zurichers go to the mountains. In Davos, one saw Heinz Krebs, ZürichExpress publishing director, Pickpay advertising manager Sandra Ulrich, but also her younger sister Yvonne Ulrich. After the Repi of the communications association Idée-VfW, she felt well prepared for the oral exam to become a marketing communications planner, which she - and over 100 other youngsters from the industry - had to take this week.
Even after Easter, the Zurich glut in Davos is unlikely to subside. In the ice hockey playoffs, the Davos team plays against the Lions from the Zurich Skating Club. ZSC fans include Gerry Stadler from MPG or Andy Lehmann from Mediahaus Seefeld. On the Davos side, you can see the brothers Georg "Gigi" and Roman Gasser from the communications agency Viva. It's a matter of honor, after all, because Georg Gasser is also head of marketing at the Davos Spengler Cup.
Beat Fritsch with an oversized HandelsZeitung at Lakeside Zürichhorn. As every year, the presentation of the advertising trend study attracted a large audience from all fields of marketing communications before taking leave of the professional life for the Easter holidays.
Those who organize convivial occasions in the communication scene, with or without clever presentations, are located at the most diverse events of the scene. Do you already have something to report? Reach for the receiver (01 296 97 98) or into the keys ([email protected]). Event tips as well as further shortlist pictures are available online at www.werbewo che.ch.

Lowe sends Greenland returnee Orange subito to the advertising hairdresserAfter lonely years in the remoteness of the North, telecom provider Orange returns to brand civilization freshly coiffed. An appearance conceived by Lowe, Zurich, transports the telecom brand into Frank & Tina's hairdressing salon. Superficially, it advertises specific offers, currently Orange's tariff structure, for example. But the appearance also fulfills brand functions. Through the choice of environment, the campaign presents communication in a comprehensible way as it is meant and mostly practiced: as cheerful, uncomplicated superficiality. What makes a good advertising idea stand out is the fact that it doesn't pull the wool over your eyes. page 10