Impiric Germany becomes global lead agency for dialog marketing for Lufthansa Passenger Airline, the German airline group's scheduled air transport division.News Impiric wins Lufthansa dialog marketing account
The eight-figure budget includes extensive consulting and conceptual work as well as the development and production of integrated campaigns in all media.
Gateway outsources media to InitiativeThe US computer manufacturer Gateway has shifted its entire media budget to Initiative Media. The budget, estimated at 250 million dollars, was previously managed by Universal McCann. In February, Gateway invited four agencies to pitch after the creative budget had already been withdrawn from McCann-Erickson. Universal was allowed to take part in the pitch.
Dell consolidates with OmnicomThe computer group Dell consolidates its worldwide advertising and media budgets with the Omnicom agencies DDB and OMD. In future, DDB Chicago will be responsible for Dell's creative work. The agency won the pitch against Lowe Lintas, which previously looked after the group's retail business. DDB will also take over the corporate branding account, for which its sister agency BBDO was previously responsible. US industry experts estimate the consolidated budget at 150 to 200 million dollars.
Guinness is Clio Advertiser of the YearThe British beer company Guinness is the 2001 Clio Awards' Advertiser of the Year. "For several years, our juries have regularly awarded Guinness with Gold Clios for its print and TV advertising," it says in the citation. Guinness had recently consolidated its global budgets with Abbott Mead Vickers BBDO and Saatchi & Saatchi, but the citation also specifically mentions former agencies HHCL, Weiss Stagliano and Ogilvy & Mather.

Daniel Weber, Editorial Director of NZZ Folio, on the advertising presence of his magazine "Our claim is the same as that of the NZZ"
For around four years, a campaign for the NZZ supplement Folio asked about the magazine's publication date. Now a new campaign is positioning the journalistic achievements of NZZ Folio journalists by comparing them with the achievements of other journalists and asking the viewer to read the difference. Editorial director Daniel Weber sees this elitist approach as merely a mirror that expresses the magazine's self-image.
How does it feel to be the editor-in-chief of the Swiss elite magazine par excellence?
Daniel Weber: Elite magazine per se is a big word, but of course it's a good feeling. NZZ Folio will be ten years old next summer. During this time, we have established ourselves in a convincing way. With readers very early on, in the advertising industry it took a little longer. But that's normal. We can now say that NZZ Folio has clearly established itself as a title. It is also a very nice feeling because we are still largely the same team as when we started. We all believe that we have achieved something together.
Who do you write NZZ Folio for?
Weber: We asked ourselves this question, especially at the beginning. We are not aimed at a narrowly focused target group, but are also a supplement to the NZZ. Our readership may not be the same, but our aspirations are the same as those of the NZZ. Of course, this brings with it a slightly elitist character.
Our concept is to take a broader approach to the material than a newspaper that is produced on a daily basis can. When we cover the topic of genetic engineering, for example, we want to present this material in such a way that it can be understood by readers with a general interest. On the other hand, it has to be of such solid quality that we can also hold our own with the specialists.
Why does the current NZZ Folio advertisement position your magazine as the measure of all things journalistic?
Weber: I'm not sure you can say that, and I don't want people to see it that way either. It's certainly a self-confident campaign, but it's not arrogant and it's not meant to be arrogant. NZZ Folio is a bit of a special publication: supplements are usually published weekly, but NZZ Folio is published monthly. We are also a specialty magazine. We cover economic, cultural and scientific topics, but we are neither a business magazine nor a cultural magazine nor a science magazine. In the beginning, it was seen as a bit of a handicap, especially by our publisher, that the magazine could not be properly categorized. If you try to reduce the facts to the lowest common denominator, then NZZ Folio is simply different. The advertising agency translated this understanding into the claim "Read the difference", which in itself is a neutral formulation that simply states that there is a difference.
The campaign speaks of NZZ Folio journalists and of any other journalists. Do you question the performance of colleagues who do not write for NZZ Folio?
Weber: No, no, and under no circumstances do I want people to take away such a meaning from the performance. Conversely, I could say: "If someone understands the campaign in this way, then they have a problem with their self-esteem." There are countless ways to read and understand a campaign. The claim "Read the difference" can also mean that there is a difference in the way we prepare the topics, in the way we give an author the opportunity to invest time in a story, in the way we combine several authors because we are a themed magazine. We don't just write a nice story every month that we garnish with a few vegetables, but we publish a dozen stories on each topic. As a whole, each issue tries to do justice to one theme. That's my way of reading this campaign. "Read the difference" doesn't mean: the others are less good at it, but rather: The context shown gives the stories in NZZ Folio a different color. We are not showing off in this relatively discreet campaign. We're just saying: "There is a difference, and you can read it." Of course that's an assertion, but it's also an invitation to check it out.
How has the campaign been received by the public?
Weber: The reactions come from long-time NZZ-Folio readers. They think it's a lively and amusing appearance, especially after the last campaign.
The 10-year anniversary is just around the corner. What changes are you planning?
Weber: One of NZZ Folio's strengths is that it has remained constant over these ten years. Also in its external appearance. Although we carried out a slight renovation a good two years ago, we never had the feeling that we had to start from scratch. When we started, we deliberately set a counterpoint to the city, trend and lifestyle magazines that existed at the time. We wanted NZZ Folio to have a more classic look. Anyone who wanted to get angry with us called it old-fashioned. But we accepted that. In the meantime, we've seen trends come and go. In terms of design, the newspaper language tends to return to calmer, more classic forms, so we were a bit avant-garde. Another thing that will not change is the fact that we are a themed magazine. This concept has become established and proven itself. It would be nonsense to want to move away from it. Furthermore, the monthly rhythm still seems to work very well for us. A shorter cadence would probably be too much for the reader. As far as I know, the magazines are used and kept for quite a long time. We don't have the impression that we need to give ourselves a new face for the 10th anniversary. Interview: Ernst Weber

After three years in office, Bruno Widmer is stepping down as Chairman of Young & Rubicam Europe, Middle East and Africa at the end of April, having already passed on the post of CEO to Bert Meerstadt in 2000. Widmer remains Chairman of Y&R Switzerland and Chairman of the Board of Advico Young & Rubicam.

Heinz Keller from the Federal Office of Sport is considering a ban on alcohol advertising in stadiums "I will discuss a ban on alcohol advertising at sporting events"
How can violence in sports stadiums be curbed? Following the riots in Lugano on April 7, Heinz Keller, Director of the Federal Office of Sport, presented five ideas, including a ban on alcohol in stadiums. He also wants to bring up a ban on alcohol advertising. His ideas will be discussed on May 8.
Mr. Keller, in your five-point catalog you refer to a Council of Europe convention. What does it say?
Heinz Keller: The five points are actually a summary of the convention that came into being after the drama at the Heysel Stadium in Brussels in 1985 and was ratified by Switzerland in 1990. Among other things, it demands that the distribution of alcoholic beverages at international sports matches and national leagues be banned or at least reduced.
Does the convention also refer to an alcohol sponsoring or
-ban on advertising?
Keller: No, not directly. It's only about the consumption and sale of alcoholic beverages.
How binding are such conventions?
Keller: They actually have legal status in every country. However, every convention contains the wording that "states should act within their means". This, of course, removes all binding force. But the common credo remains. Uefa has also adopted all of these requirements and makes them a condition for its matches.
Is alcohol the cause of violence at sporting events?
Keller: No, it is the secondary or even tertiary motive, and not even among the hooligans themselves, but among spectators. If violence breaks out in a stadium and some spectators are drunk, they are more likely to side with the violent offenders than non-alcoholics.
Would you also like to see a ban on alcohol at sporting events outside stadiums?
Keller: There is no legal basis for this and it would not be enforceable. However, sport itself should spread the message that active sport and alcohol are mutually exclusive. In any case, it should not initiate the consumption of alcohol.
However, the sports associations are biased in this respect when you think of their income from sponsorship and perimeter advertising by Feldschlösschen, Cynar or Martini.
Keller: That's precisely why I, as a state representative, have to raise this issue.
Are you calling for an actual ban on alcohol advertising at sporting events?
Keller: I will certainly address this. But it's clear that because the state is not stepping in with the appropriate replacement finances, it has a short lever.
How much money is involved?
Keller: Of the estimated 350 million francs that are generated each year in Switzerland through sports sponsorship alone, sponsorship by alcohol and cigarette brands probably accounts for around 50 to 100 million francs.
How did the top representatives of the sports associations react to the ban on alcohol?
Keller: Everyone who took part in the discussion on Easter Tuesday is unanimous in their opinion that alcohol should not be a reason to go to a sporting event. In addition, everyone wants to keep alcohol consumption as low as possible. My role as a representative of the state is to demand that sport and alcohol should have nothing to do with each other. And that's the role I want to play.
Do you think it is possible that the sports associations themselves will be able and willing to do without alcohol sponsorship and advertising within a reasonable period of time?
Keller: I think it is possible that sports associations will encourage their members to consume alcohol in moderation. Secondly, alcohol sponsors also have an interest in ensuring that their drinks are only consumed in moderation, especially in sport. They will therefore realize that sport-friendly sponsorship does not aim to achieve the highest possible alcohol consumption. Rather, it could be about advertising alcoholic beverages as drinks that should be consumed after the game - in a good atmosphere. And thirdly, it is in the interest of the sponsors that they do not experience a penetratingly negative appearance in connection with violence. That's why I have a lot of hope that we can find a common path with the sports associations and sponsors. Interview: Markus Knöpfli
Five proposals against violence in stadiums

1. general ban on alcohol in all stadiums
2. more consistent access controls at the stadiums
3. sanctions and implementation bans for negligent organizers
4. clubs should take fan work more seriously
5. stadium ban and penalties for known rioters

In Toronto, a jeweler is causing a stir with an advertising campaign with a gay touchBy Werner CatrinaHenry Birks & Sons, Canada's oldest jewelry store, is entering uncharted advertising territory for the industry and is advertising in its shop windows with homosexual couples in love. Canadians find nothing offensive about it and praise the campaign.
"Lovers" is the striking slogan in the newly designed shop windows of Canadian jeweler Birks. A beaming younger man is depicted in a red heart with his arm around the shoulder of his happy older friend. A masculine-styled watch, a black sack knife with silver blades modeled on a Swiss army knife and sparkling cufflinks are draped around him. The next shop window shows two women in a similarly amorous pose, along with a necklace and a brooch - nothing more. And so it goes on along the entire shop window front of the elegant Bloor Street in Toronto.
Overnight, the refreshingly tolerant and natural campaign attracted national attention and triggered a unanimously favorable press response. Canada's largest newspaper, The Globe And Mail, even highlighted the campaign with a front-page lead and a report inside the paper, multiplying the impact of the shop windows enormously.
"Birks is trying to break out of the conservative mindset," explains Mary Olivier, manager at the jewelry company, "but not in a shocking way. This campaign is about real people, it's about real communication."
Those directly approached reacted with delight. "It's really nice to see that a more traditional jewelry store like Birks is now starting to think about something that Canadian society has long accepted," explains Dirk Gallagher, a representative of the gay community in Toronto, "let's treat all Canadians equally!"
Henry Birks & Sons is Canada's oldest jewelry store. In the early nineties, the somewhat dusty house was teetering on the brink of bankruptcy and was then sold to the Italian holding company Iniziativa Regaluxe, which triggered restructuring and a strong push for innovation.
Birks is now making a name for itself as a trendsetter in expensive luxury jewelry. As the manager explains, the clientele has become much younger in recent years; the main age group is now between 34 and 54, Mary Olivier notes.
A completely new image for the jewelry industry
Gay-themed marketing and advertising is nothing new in Canada, but for gold and gemstones, this campaign is a first in the North American country. As a small survey by The Globe and Mail showed, some viewers surprisingly identified the male couple as father and son. And one passer-by commented: "I see two good friends, certainly not lesbians!"
Mary Olivier finds it all exciting: "You see what you want to see." Incidentally, the Birks decorators left one escape route open. The displays can be rotated as required: a mother and child or an older couple can be seen on the back of the hearts. With matching jewelry, of course.

In Paris, the Musée de la publicité is presenting an exhibition on the history of advertising that is well worth seeingBy Andreas PanzeriWhat is still a dream in the minds of a few history-conscious creatives in Switzerland has already taken shape in Paris: the Musée de la publicité. Now the rich collection of otherwise quickly fading everyday art is attracting visitors to a special exhibition entitled "250 ans de pub". Paris is worth a trip for advertisers. Certainly until October 14.
Mona Lisa has a good smile. Now that the crowds of tourists are once again queuing endlessly in front of the Louvre, the grande dame of art can still maintain a good mood. Since mid-March, da Vinci's Mona has known that there are alternatives to queuing for hours in front of her likeness. Just around the corner from the Louvre's glass pyramid, at 107-111 Rue de Rivoli, is the Union centrale des arts décoratifs. In addition to a Musée de la mode et du textile on the top floor, there is also a Musée de la publicité.
This young museum has not yet attracted much attention.
in the grand style of the Louvre or the Centre Pompidou. However, this could change with the "250 ans de pub" exhibition, which opened in March and runs until October 14. Even if it was not a da Vinci, but a certain Jean Nouvel who designed the interior decoration of the advertising museum as an architect.
The seven-room gem plus "Trend" bar and Médiathèque was opened in November 1999. Its predecessor, the Musée de l'affiche, had already existed in Paris since 1978. Its holdings have now been taken over by the Museum of Advertising, supplemented by an extensive collection of commercials, packaging and other media documents.
Klimt, Toulouse-Lautrec,
Warhol - they are all there
50,000 historical posters from Henri de Toulouse-Lautrec to Gustav Klimt and 50,000 contemporary posters for Perrier, Andy Warhol and Benetton have been inventoried. These are supplemented by 10,000 commercials from all eras, shot by Federico Fellini to Ridley Scott, among others. New collector's items are added daily, ranging from enamel plaques, photos and advertisements to radio spots, promotional gifts and other promotional items on the history and future of brands.
With its extensive specialist library and state-of-the-art interactive facilities, including for professional research in the archive, the Musée de la publicité in Paris is a unique pioneering project in the international world of advertising. The museum is managed by Réjane Bargiel. The most renowned French advertising agencies act as sponsors. The French Art Directors Club regularly uses the exhibition rooms as a meeting place for all kinds of events.
The museum puts on several temporary exhibitions each year. The most comprehensive show to date has now been created under the title "250 ans de pub". The chronologically structured documentation divides the advertising era into six sections with increasingly shorter intervals up to the most recent chapter "1990-2000". The exhibition is limited exclusively to the history of advertising in France. Nevertheless, it is very representative.
The first room, "1750-1880", uses an audio-visual show to tell the story of the beginnings of advertising with the herald, who first proclaimed royal commands in 1180 and also announced goods from 1415. Since then, the sale of consumer goods has been accompanied by increasingly eye-catching and sophisticated advertising.
The founding of the Corporation des afficheurs in 1722 marked the birth of advertising and gave it the official right to print and display posters.
As early as 1857, there was a trademark law in France, the "loi sur la marque de fabrique". Interesting for today's comparisons: As early as 1865, advertisements filled a third of the entire space in Parisian newspaper columns.
With these and other surprising details, the exhibition explores Toulouse-Lautrec's posters from the period "1880-1920". The first trade journal La Publicité was printed in 1903. The first specialist books such as "La publicité suggestive et raisonnée" were read in those pioneering days. The first Paris poster exhibition was held as early as 1889.
"1920-1950" shows pictures of the Eiffel Tower, which was illuminated in color by Citroën in 1925 as part of the first "event marketing" event. The Publicis agency was founded a year later.
History is told in the
embedded in a social context
All these stories are not only illustrated with numerous photos and many original posters and documents. For each era, a video film with historical footage of the time and nostalgic impressions has also been created. In addition to the wild 1930s, the emergence of cinema advertising in the "1950-1970" era is particularly rewarding. Back then, the designers were able to indulge in beautiful images in an old film for Vittel mineral water.
Even during the first TV broadcast of the Tour de France, the riders still cycled through the countryside at a fairly leisurely pace. But then the cadence got faster and faster.
  The "1970-1990" section, with its almost unmanageable amount of information, also makes it clear that advertising expenditure increased fivefold between the beginning of the 1950s and 1970. In terms of content, the ever-increasing power of advertising is reflected in more and more mergers between agencies.
On the Internet, the
Prepare your museum visit
Compared to the beginnings, the last era of "1990-2000" is only told in a rudimentary way. It is not only the Benetton posters that the audience is already familiar with from everyday life. The Médiathèque at the entrance to the exhibition next to the "Trend" café therefore provides a more impressive demonstration of how this current period, with its daily new achievements, can also be linked to advertising in the field of interactive media. Here, interested visitors can spend hours surfing through the bowels of the museum's extensive collection.
Some of these can also be accessed online at www.museedela pub.org. Details of the daily opening hours from Tuesday to Sunday can also be found on the museum's homepage.

Swiss advertisers have won two prizes in the print category at the 42nd Clio Awards, which will be presented in Miami on May 23. The winners were selected by an international jury of 14 members, also in Miami, with Switzerland represented by Frank Bodin, CEO of Euro RSCG. Last year, Switzerland won three Print Clio Awards.The winning print works were determined from 8200 entries, of which around 1000 made it onto the shortlist. "Never before have there been so many print entries as this year," explained Bodin. A total of 13 Swiss entries earned shortlist honors: From AY&R, the SMP subjects "Open air" and "Bremen Town Musicians," the motifs "Wegweiser" and "Recycling" from the Flims-Laax-Falera entry, as well as the "World Literature" campaign (VBZ) and the Kuoni posters. McCann-Erickson was also nominated with several works: with the "Scratch Poster" designed for Caritas as well as with the subjects "Geneva-Brussels" (SBB), "Luggage Conveyor" (Microsoft), "Cinderella" (Opera House) and "Gravestones" (Suva). Furthermore in the wreaths came Honegger von Matt with an ad for Zelo Hairstylist and Seiler DDB, Zollikon, with the ad "Unforgettable Days" (Hotel Eden). (ew)

Display "Gaps
Is the new TVvier program booklet a stand-up or a stand-down for you?
Roland Wahrenberger: Neither. It's simply a new competitor that will stimulate the market. Experience has shown that it's difficult to make a program guide four weeks in advance. That's because private stations, in particular, usually don't know what they're going to broadcast until a week or two beforehand. But if you have to produce six to eight weeks in advance, you have a booklet in which a lot of things are out of date. We will see how this problem is solved.
You don't expect TVvier to take readers away from the existing program guides?
Wahrenberger: Initially, perhaps. But many readers will come back to the classic program guides, because TVvier is incomplete, especially in the area of local stations.
Are you not at all worried that the cheap way TVtäglich is made might now take revenge and make it easy for a new competitor to enter the market?
Wahrenberger: The big advantage of TVtäglich is that it is free of charge and delivers the same data quality as Tele or the other program guides. Incidentally, a relaunch of TVtäglich was initiated before the TVvier project was even known. We will change the layout so that it is even easier to read.
How long do you give TVvier?
Wahrenberger: Not an easy question, especially since I neither know the people behind the product nor anything about their financial possibilities. Why don't you call me again in a year's time?
Interview: Daniel Schifferle

The Berner Woche (www.berner woche.ch), Berner Bund's going-out magazine, is now available online:NewsBerner Woche new on the Internet
Under "Agenda" you will find the most important events, under "Scene" contributions on Bernese cultural events, and "Cinema" contains the cinema programs from the canton of Bern.
Best-of-Swiss-Web-Seal-of-Appreciation20 websites have received the Best-of-Swiss-Web-Seal-of-Appreciation. The winners are beyoo.ch, future life.ch, nzz.ch, cede.ch, fun fox.ch, oelpooler .ch, ofag.ch, sarasin.ch, web insurance.ch, wechselstube. ch, allmedia box.com, argo brand.de/redsafe, beerculture .com, contexta.ch, maggi.ch, miosphere.ch, net vertising.ch, patman.ch, viper.ch, zweifel. ch. The award is presented by the Swiss Interactive Media Association (Sima) and Netzwoche.
Broadband access is taking its timeAccording to a study by Jupiter MMXI (www.mmxieurope.com), broadband technology in Europe will be slower to catch on than expected. Only 10 million households will have broadband Internet access by 2003. The reasons for the lack of interest among users are high costs, currently averaging 50 euros a month, and a lack of information.
Amazon and Adobe cooperateAmazon.com visitors can now download the Acrobat e-book reader and thus choose between almost 2000 digital books in Adobe PDF format. In addition, electronic books using Microsoft's Reader software are also offered here. This brings the number of available e-books to over 4000.
International Facts competitionFor its new website, the news magazine Facts has announced an international competition (www.facts.ch/de sign). Around 400 web and design agencies received an e-mail. The goal of the redesigned website is a high level of service.

Alexander Jaggy (30) has taken over the creative leadership at Jung von Matt/Limmat alongside CD Daniel MeierAfter seven years at flagship foreign agencies such as Springer & Jacoby, Hamburg, most recently as a concept developer in their London office and previously at Jung von Matt/Alster, Alexander Jaggy, decorated with a total of 90 national and international awards, is returning to his home country as Creative Director. More precisely: to JvM/Limmat, where he took his place in the newly created second CD chair alongside Daniel Meier at the beginning of April. "I didn't miss Switzerland as a country. It was much more my emotional connections, family and friends that drew us back here," says the young family man, explaining the move. The living conditions with a small child in the English metropolis were the only reason why he and his wife decided to return to Switzerland.
And when Dominique von Matt, the new majority owner of the Seefeld agency, made him the offer, the constellation and goal of the agency were right for Jaggy. As a former employee who never broke off contact with JvM, he also brings the "stable smell" with him. This is not the only thing that will be noticeable at Korneliusstrasse: "I have learned to be more open in a cultural sense and to work more competitively."
Complacency and egotistical gardening are far from his mind. This mentality has helped him with contracts for clients such as Bilanz, DaimlerChrysler, Wasa, Miele, Audi and Lufthansa.
Despite his experience with such budgets, he does not see any danger of Teutonization in the closer cooperation with the German parent company. "We will try to promote teamwork and self-criticism more strongly."
Although the CD team will divide up the client portfolio, "we will both always have an insight into all concepts," explains Jaggy and is particularly looking forward to advertising budgets from the consumer goods sector, as he has mainly worked for technical clients to date.
The pitch success rate should continue to look as good in the future without compromising quality. This is because the closer connection to JvM/Alster means that the Zurich agency has a creative obligation. Jaggy is fully aware of this: "People are excited to see what we design here."
At 15, Jaggy had the key experience that drew him into the world of advertising: "When I saw the posters for Aebi and GGK, Basel, in their heyday, I realized: I wanted to do that too." He applied blindly, first landing at BBDO Business Communications and then in 1992 at GGK, Zurich, before continuing his career as an advertiser abroad two years later. Luca Aloisi likes to enjoy his rare free time in seclusion with his family and friends.

The German car manufacturer is advertising in the USA with some pretty weird commercialsBy Thérèse BalduzziFor the launch of the new Passat model in the USA, Volkswagen is relying on a campaign in which there is plenty to laugh about. It is based on the idea that the new car model looks much more expensive than it is and that its owners are therefore victims of money-grabbing criminals and fraudsters.
"It only looks like a million bucks" is the tagline of the new Passat campaign, which includes TV and radio commercials, print ads, a website and direct mail. The first of the three 30-second spots, "Ransom", begins with a Passat driver who has parked his car in front of a house wall. As he tries to walk away with a bag in his hand, a blue van speeds up. Masked men get out, grab the man and drive off. After a short time, they come back, let the man out again and apologize: "Sorry, our mistake." The kidnappers have now realized that the Passat driver is not a millionaire.
In the commercial "Whiplash", a fraudster tries to extract money from a Passat driver using an age-old trick. He parks his old, dented car behind her new Passat and starts accusing her of causing the dents. When he realizes that she is not intimidated, he waves a policeman over. As he continues to put on his show, a crowd soon forms around the scene.
In "Fund Drive", an ambitious principal encourages a hall full of primary school pupils to collect as much money as possible in as little time as possible by selling sweets. The winner wins a visit to an amusement park. The horde of schoolchildren streams out of the school building and - in slow motion - converges on a Passat driver, giving him a good scare.
In the print ads, the same idea is continued with a different twist. The Passat is placed in luxurious surroundings where it fits in perfectly visually, but is "unmasked" by the titles. One subject shows the Passat in a trendy, upscale neighborhood next to a woman walking her poodle. The headline reads: "More upper than crusty", a play on words with the term "upper crust" (the upper ten thousand), "The new Passat, starting at an understated 21800".
With the new Passat at the latest, etiquette is due
The website www.vw.com is all about the new features of the redesigned Passat. However, it also provides rules of etiquette on how to behave in the company of wealthy people, in which Passat drivers will unexpectedly find themselves.
"The goal of the ad is to tell loyal VW fans that it's possible to own a very cool car without having to blow their budget or their down-to-earth values. If certain people think you're filthy rich, why not play along?" says Alan Pafenbach, Creative Director at the Arnold Worldwide agency in Boston, which is responsible for the campaign. Volkswagen is enjoying great success in America and is the best-selling European car brand.

The annual issue of Sushi showcases the best work of Germany's up-and-coming ADC talentBy Andreas PanzeriWho are the new creative stars of tomorrow? For the third time, the Art Directors Club (ADC) in Germany hosted its annual young talent competition. 28 award-winning diploma theses and 17 outstanding ideas from the field have now been published in the annual magazine Sushi 3.
The title of the magazine is misleading. Sushi is an inspiring appetizer that has no future because it will stink tomorrow and can no longer be enjoyed. The situation is quite different with the 28 award-winning diploma theses or 17 award-winning practical projects featured in the Sushi 3 annual magazine.
This documentary featuring the best work of Germany's up-and-coming ADC talent gives us a glimpse of the future. "Fresh talents with great ideas" is the promising but true title of an advertisement for the book about the advertising of the future. The latest ideas and trends of the young talents amaze with fresh thinking as well as stylistically unspoiled images.
"Creatives that you would also like to have in your team" is how the Mainz-based publishing house Hermann Schmidt describes the selected talents. The competition, which is documented in Sushi, is organized by the German ADC. Graduates and young professionals from the fields of advertising, graphic design, photography, film and new media can take part. With 28 percent more participants than a year ago, the ADC was delighted with a "record number of entries". 161 diploma theses and 112 works from the field were judged by the jury. The evaluation criteria correspond to those of the "big" ADC competition. Due to these tough criteria, no junior film made it through in practice. However, the 17 prize-winning print ads are said to have come through "highly commended", as jury chairman Delle Krause from Ogilvy & Mather writes.
Old hands oracle how the
what the future will look like
The yearbook is co-financed by Stern. The magazine publisher justifies this commitment with the calculation that an average Stern has 220 pages, 130 of which are created by the editorial team and 90 by the advertisers. "To put it plainly: 40 percent of our magazines are designed by ADC members," explains Torsten Bardohn, Head of Advertising at Stern, and concludes with a wink: "To ensure that these 40 percent look just as good as the rest of Stern, we support young ADC talent."
The Sushi Yearbook comprises 150 pages with many large-format illustrations. The pictorial documents are supplemented with a social view of the future as seen by trend guru Matthias Horx. The trend researcher locates part of our future happiness in socio-technology and thus in a greatly changed relationship to work. Conversely, old hands Dietrich Zastrow and Michel Schirmer analyze how this was shaped in the past. They talk about how their own creative careers began. An interview with Kai Krause on his Byteburg is subtly focused on the future in the present. This is where the digital guru retired after winning a Music Oscar in 1980 for his futuristic sound effects and later becoming rich with graphics software.
Sushi 3 with the ISB number 3-87439-555-3 costs 29.80 francs.