Hair was the Beatles« trademark right from the very beginning. An ad by the Zurich hairdresser Zelo—which he had designed by Honegger von Matt—is no mere stretch. »Imagine” is the simple message in the text. It commemorates the 20th anniversary of John Lennon’s death. Next to the headline, six portraits of Lennon show the pop legend with a different hairstyle in each one. The nostalgic concept was creatively brought to life by CD David Honegger, copywriter Dominik Imseng, art director Felix Dammann, and graphic designer Claudia Lutz. Nicole Boss served as a consultant, and the images are courtesy of Keystone.
NZZ Online Wins «Spot of the Week.» The TV commercial «Hitler Face,» which the Düsseldorf-based online marketing agency is using to promote NZZ Online on Vox, was voted “Spot of the Week” by visitors to the Werben & Verkaufen website. In this somewhat misleadingly named contest, visitors to www.wuv.de/network/spots.html can rate a selection of commercials on a scale of one to five. Competitors included Coca-Cola, Shell, uboot.com, Fielmann, and Financial Times Deutschland.
Calida also attracts juries. Some do it (Nike), others are it—and visibly successful. The Calida poster for the seamless «Just Be» line was recently selected by the prestigious 13-member Munich poster jury as one of the twelve best large-format posters of the year. Since the early 1950s, the panel has been selecting the best posters from the worlds of business and culture—displayed in and around the city—on a quarterly basis. Advertising director René Stucki has double reason to celebrate. Not only have the sales targets for the lingerie line long since been exceeded, but thanks to the international campaign launched in April—created in-house with Munich-based photographer Esad Cicic—the brand image has been given an emotional edge while also undergoing a striking rejuvenation.

Oranges for peachy skin. Yoko Ono is credited with the theory that men discovered a sense of humor when looking at their own anatomy. But when you consider how much money they spend fighting hair loss, that humor seems to veer more toward despair. Cellulite affects women in a similar way. For them, too, anatomy does not seem to be destiny, as Sigmund Freud would have seen it. Matter & Partner recently promoted a cosmetic institute in Adliswil with a giveaway campaign. Drawing on the common medical term, oranges were distributed to passersby; they were wrapped in typical protective paper and bore the advertising message—also in a typical Mediterranean style.
Coop is becoming an umbrella brand. The nationwide rollout of the new Coop logo has begun: The logo, featuring two shades of orange and first unveiled in June, now adorns Coop’s headquarters in Basel. From January 1 through May 31, 2001, the transition will take place nationwide—from the website to promotional campaigns. The new logo, designed by Külling Partner Identity, became necessary because Coop is dissolving its 14 cooperatives and aims to present itself as a single company with a unified brand identity. In January, Coop will simultaneously launch an advertising campaign for its private-label products.
A 460-square-meter poster. BlowUp Media Schweiz GmbH, in collaboration with the City of Zurich’s Department of Building Construction, is organizing a design competition for a giant poster. The mega-poster, measuring 23 meters wide and 20 meters high, will be displayed on scaffolding along the Limmatquai at Amtshaus VI in downtown Zurich. The theme for the poster’s content will be announced in a call for entries on December 20 in the WerbeWoche newsletter. The terms and conditions for the competition can also be found at www.blowup.com
DEAG with Swiss Holding Company. Following its acquisition of the concert agency Good News in July, the German entertainment company DEAG is taking another step into the Swiss market by founding DEAG Global Entertainment Holding. DEAG announced that the new company’s goal is to acquire majority stakes in international touring and management agencies and to further expand its touring and concert segment. As its first investment, the new holding company has acquired a 70 percent stake in Entertainment One in Zurich.
Let's get down to business. The other day, while picking up his shirts from the dry cleaner's, Frank Bodin, Creative Director at McCann-Erickson, Geneva, discovered a new advertising medium: the unprinted cardboard that the dry cleaner inserts into freshly ironed shirts to keep them from wrinkling. This shirt cardboard could also serve as a medium for advertising messages that companies targeting local businesses want to convey to a male audience. The agency first used this new advertising medium as part of a campaign it designed for the Zurich-based fitness and dance center arena 225.
Editorial

Taming the Unruly
In the late 1950s, Vance Packard published his bestseller *The Hidden Persuaders*, sparking a long-running debate about the role of advertising psychology in modern consumer society. Packard portrayed the communications industry as a cunning manipulation industry that will stop at nothing to boost sales. Today, we know better. The basis for Packard’s much-cited theory of «subliminal advertising» turned out to be a hoax. Today, the communications industry is open about all sorts of things—including itself. Advertising is no longer a myth; few still believe in its omnipotence. (See the article on the newly reprinted book *Advertising and the Mind of the Consumers* by Max Sutherland and Alice K. Sylvester on pages 25ff.)
The informed consumer knows that advertising is allowed to exaggerate. The fact is, however, that there are legal limits to deliberate deception. These limits do not, however, apply to the more common practice of aiding and abetting self-deception, into which advertising readily lures us. Viewed in this light, advertising is also a tool that—to put it somewhat dramatically—helps to decipher the collective subconscious of a society.
Many moralists of the capitalist era refuse to admit it:
Consumers turn out to be far more resistant than they think. Millions are spent on market research to find out what they want (to buy). After all, advertising is always conducted under the sacred principle of developing only those ads and commercials that appeal to consumers and know how to convince them. After all, today the business world is increasingly confronted with consumers refusing to buy because of advertising: some consumers no longer buy certain products because their ads are boring and annoying or treat their target audience like fools. Samuel Helbling
P.S.: With this issue, we bid you farewell for the year. The next issue of WerbeWoche will be published on January 11, 2001. We wish you a joyful holiday season and a happy New Year.

A new book by design theorist Matthias Götz presents the effect of form and forms of effectDesign has an impact on all areas of communication, including advertising. How does this theory relate to practice? The answer to this question is provided by a conversation with Matthias Götz, professor of design theory at the University of Art and Design, Burg Giebichenstein, Halle. And a book on the subject of "Forms of Effect, Effect of Form".Why does someone who works in communication need design theory?
Matthias Götz: I don't know if anyone needs design theory only in communication. Insofar as one considers communication as a form of design, it also needs theory. A theory generally solves the problems that practice poses, and if it doesn't solve them, it at least deals with them more intensively.
And what is the purpose of design theory for an advertiser?
Götz: Because it never hurts to have a little more background than practice alone can provide. And that would be practical for reasons of practice.
What insights does it provide him when he looks into it?
Götz: You can't say that in one word. I am a supporter of indirect theory. I don't mean that theory is there to tell the designer that this will be red or that will be purple, that will be square or that will be round. Indirect theory actually means something like a background formation that one can fall back on and against which the practical result is then also presented. Like a stage set in a performance.
Design is mainly used in those areas of communication where the aim is to build a brand or create a corporate identity. How does design theory relate to such tasks?
Götz: We now also talk about the philosophy of a company or a brand. The more this brand society has developed, the more theoretical it has become, and precisely the designing of such appearance philosophies itself has become more theoretical. Today, entire identity systems are formed, for example by Zintzmeyer & Lux or other companies. The task itself has developed quite far away from the drawing board and is very close to idea generation, system formation, in a word: to theory.
Is the weakening and disappearance of brands due to the fact that the brand design had not been thought through enough?
Götz: That's difficult to judge or verify empirically. You don't have to be afraid of this brand diversity at all. Due to the many hectic company mergers, the number of brands that have led to this information overkill is also regularly decreasing again.
Now, new brands have also been formed through mergers, Novartis in Basel would be a good example. A brand construct that has presumably emerged via insights from design theory...
Götz: I would even dispute that, because in terms of appearance, this is not a special construct. Novartis even carries the artificiality of this whole affair in its name. Something as angular as the Deutsche Bank sign from the seventies by Stankowski is much more stable in its long-term effect.
You are not only a professor in Halle, you are also the managing partner of the Museum für Gestaltung in Basel and run the museum on a private basis. What's next for this Basel institution?
Götz: It will definitely continue. Bruno Haldner, my partner, and I have also been running the museum for ten years now, partly with state support and partly with private funding. Next year, we can also expect to make challenging and appealing exhibitions in Basel. Interview: Carlo Bernasconi
How Tabasco also still works

Around 200 lecturers, students and guests from the University of Art and Design in Halle discussed the so-called Tabasco effect at the 18th Design Theory Symposium at Burg Giebichenstein at the end of November. Under the subtitle "Forms of Effect - Effect of Form," Bernese physician Josef Amrein and Zurich philosopher Gonsalv K. Mainberger, among others, expressed their views on the placebo effect and the effect of rhetoric. The symposium contributions have been published in advance as a book: "Der Tabasco-Effekt," Schwabe Verlag, Basel, 29 francs, ISBN 3-7965-1506-1.

Roger Schawinski concentrates on strategies and retains responsibility for programmingBy Daniel SchifferlePer January 1, 2001, Martin Spieler takes over as head of Belcom from Michi Frank, the
moves to IP Multimedia (Switzerland). But unlike Frank, Spieler also has
a hinge function to the program area.
At the beginning of January, the former director of Belcom, Michi Frank, will take over the duties of Managing Director at IP Multimedia (Switzerland) (WW 38/00). On this date, the Belcom Group will give itself a new management structure and create the new position of COO (Chief Operating Officer), which will be held by Martin Spieler.
In this role, Spieler will on the one hand take over operational management of the advertising acquisition company Belcom. On the other hand, and this is the big difference to his predecessor Michi Frank, he will also retain responsibilities in the program.
So Spieler remains editorial director and presenter of "Money" and "MoneyTalk". And there will soon be much more to come, because the designated COO will also head the new stock market channel Money 24, which will go on the air next year.
will go.
Roger Schawinski will continue to hold the positions of CEO and Chairman of the Board of the Belcom Group, but in the future he wants to concentrate more on strategic tasks and journalistic matters. And of course he will continue to host the show "TalkTäglich" on Tele 24.
So there can be no talk of a withdrawal in any way at the moment. Spieler also confirms this: "Roger Schawinski will continue to be very present, and we will work together very intensively."
One leg in the program, the other in marketing
In view of Spieler's new dual function in marketing and programming, is it also a question of bringing these previously separate areas closer together in terms of personnel? "My roots in journalism and the new tasks in marketing are certainly a good combination," says Spieler, adding: "Thanks to my proximity to the program, I will be able to better assess what is feasible and what is not when talking to the advertising agencies."
Spieler is not afraid of the additional burden that the launch of the Money 24 channel will place on him: "We have very good people in the group who will support me.
According to Spieler, Money 24 is expected to go on air in late summer of next year. The project is developing very well.
After concluding a partnership with Cablecom for Money 24, the company is currently in talks with other potential partners from the financial sector. "The interest is huge," says Spieler.

The young Lausanne graphic artist Albin Christen has created a trademark with his figuresBy Anita VaucherActually, Albin Christen thought drawing was not his thing. Today, his idiosyncratic figures, aliens with googly eyes and oversized lips, are his trademark. The graphic artist is now also known in Asia and the USA.
The Montreux Jazz Festival 2000 had a lasting effect on the work of the young Lausanne graphic artist Albin Christen. His poster for the major cultural event and the Swatch with his figures, produced especially for the Montreux Jazz Festival, went around the world.
The cult plastic watch found a ready market among the sworn collectors. As a result, watches from all over the world are currently piling up in the graphic artist's studio in Lausanne to be signed by Albin Christen. New business for him comes primarily from posters. A bank in Atlanta, USA, has commissioned a work from him. In Tokyo, too, the Lausanne graphic artist has attracted attention. This consoles Christen a little about the fact that his efforts to establish business relations in Zurich and Paris have so far failed.
Since Christen started his own business at the age of 23 after completing his apprenticeship as a graphic designer, his existence often seems like a dream. He has been able to realize the job of his dreams in the truest sense of the word and would still feel comfortable as a chef if he had to pursue a different profession.
He sees parallels between the profession of a graphic designer and that of a chef in the spontaneity of the creation, but above all in the short-lived nature of the product created. A good meal is enjoyable and brings short-term pleasure, but afterwards it is forgotten relatively quickly, muses Albin Christen. This is exactly the case with his work for the advertising industry, which he considers to be very short-lived.
Communicate from the gut
What the young graphic designer finds fascinating about his work is communicating with images that arise from the gut. Yet drawing was not his favorite pastime at all. Albin Christen first did an apprenticeship as a typographer and was firmly convinced that he had no talent for drawing.
He was fascinated by everything to do with print work. It was rather by chance that he ended up at the Lausanne advertising agency Trio. There he discovered his love of graphics, also rather by chance, but with lasting effect, and completed an apprenticeship as a graphic designer. The agency's AD saw his drawings lying around on the apprentice's desk and promptly submitted them to the client Publicitas for its new campaign.
From that moment on, the figures with their googly eyes and pneu-like lips were Christen's trademark. Until now, his drawings had only amused friends and acquaintances when he designed greeting cards for them. Now the apprentice graphic artist was amazed to discover that his googly-eyed and alien-looking creatures also appealed to a larger audience.
The decision to become self-employed after his apprenticeship was therefore easy for him, and the first commissions were not long in coming. In his kitchen, which he briefly converted into a makeshift studio, Albin Christen carried out his first assignments for the weekly magazine L'Hebdo in French-speaking Switzerland.
He has been illustrating for three years now. Not so long ago, the graphic artist designed an election poster for the Green Party. And just recently, he was able to create the wine label for Vaud's 2000 vintage. His latest commission, the creation of a new plastic watch, comes from Swatch. It is to be launched next year. He does not want to say more about it.
Pressure generates creativity and prevents routine
Christen hardly misses teamwork and the associated creative exchange that an agency could have offered him. In an agency, he would always work in the background, while self-employment allows direct contact with the customer.
This connection to the client is indispensable for his work, in order to be inspired again and again, but also to question his work from time to time. For him, questioning himself means being able to develop further.
The chemistry between him and the client has to be right for him to be able to work for them, he argues. Yet Albin Christen is anything but a thin-skinned character. But he impresses those around him with his modesty and restraint. For him, a certain amount of pressure at work is just as important for creative work. He is convinced that this stimulates him and protects him from routine.
Instead of advertisers, Christians drew for the army
Albin Christen has an ambivalent relationship with advertising. He is fascinated by advertising, but he often wonders whether the agencies are not pursuing an end in themselves and often take little account of the customer's wishes. He would find it exciting to increasingly be the contact person for advertising agencies. His handicap, however, is his figures, which cannot be integrated into any concept, the graphic designer regrets.
He was luckier with the Swiss army. Although he has more trouble with this institution in private, it was by chance that he illustrated an article for L'Hebdo about the army's clothing costs. A commander was so enthusiastic about the work that he called Christen the next day because he wanted to use his drawings for his teaching slides.
Christen's dream, by the way, would be if his characters learned to walk one day, that is, if he could realize an animated film with them.

Companies with small advertising budgets are to benefit from Google's advertising programThe Internet search engine provider Google Inc. has launched a new program for advertisers: AdWords allows companies to advertise on Google (www.google. com, www.google.de, etc.) at a per-thousand-contact rate of between $10 and $15. The offer is based on keyword targeting: advertisers can reserve specific search terms where their advertising message should appear. This is placed to the right of the search results in small boxes. Google remains true to its principle: no banners. Only text messages are permitted. The desired texts, which are limited to 60 characters, and the desired URL can be entered online by the advertisers themselves and changed as desired. Payment is also made by credit card via the Internet.
Only advertising that actually matches the specified search term is permitted. This is because the search results should also match the corresponding search term in any case and help the user. A maximum of three advertising boxes are provided per page. The advertising that attracts the most interest from users always appears at the top. This means that advertisers have no influence on the placement. One reason why Google, unlike the other major search engines, does not use banner advertising is speed. Sergey Brin, co-founder of Google, is also convinced that text advertising is much easier and cheaper to target: "It is easier for online retailers to develop 20 different text ads for several different search terms that are relevant to their offer than to create 20 different banners. These lead exactly to the relevant offer on the website and not simply to the homepage." Google's very unique take on advertising and strict rejection of banners has meant that the company does not work with Internet marketers. Brin is also convinced that Google's targeting system is superior to that of most marketers.
Google would also like to take the marketing of its own advertising offering into its own hands in Europe. An office is to be opened soon in Amsterdam. Further offices in other European countries are to follow soon. Clemens Hörler

Danielle Lanz is looking for a successor (or successors) - as Advertiser of the Year 2000.Nominated are Edi Andrist, Urs Beer, Frank Bodin, Markus Ruf, Martin Spillmann and Dominique von Matt.Those who came in the top three in an election for Advertiser of the Year since 1977 were allowed to nominate six favorites for WerbeWoche.
Who will be Advertiser of the Year 2000 depends on the vote of our readers who subscribe to the magazine. On the ballot in this issue, you can tick up to two names or add two new names to the list, for example that of a woman. The nominees are presented in short portraits on page 10.

Muse & Musse Lucas Vetsch
Which cultural event did you attend last and why this one in particular?
Lucas Vetsch: Dmx live, because otherwise there is already enough normal music.
What are you reading right now and why?
Vetsch: The Facts, because it comes every week.
Which CD do you currently prefer to listen to?
Vetsch: Rony Sice, she wakes me up!
Which movie would you most like to see again and why?
Vetsch: "Delicatessen" by Marc Caro and Jean-Pierre Jeunet, because it's a great film.
What TV show did you fall asleep during the other night?
Vetsch: I zap away before I fall asleep!
What is your latest discovery on the Internet?
Vetsch: www.vir2l.com
Love is...?
Vetsch: The universe.

Publicis revives the most Swiss of all virtues - cleanliness - for APGSelig Plakatland Schweiz. In hardly any other country does this advertising medium shine with such high market shares. To keep it that way, the Allgemeine Plakatgesellschaft (APG) advertises on its own behalf. With success, as the campaigns "Angie Becker" or "Missing Favorites" have shown in long-term studies. The contribution of the Zurich-based in-house agency Publicis is not insignificant. With five motifs in the style of the "advertising era," its latest campaign counters the accusation that posters are visual pollution. With a great deal of inventiveness, it symbolically hands a broom to poster detractors with the recommendation that they first sweep their own front door. Page 14

The Bernese graphic design and advertising agency Walhalla is making a big splash on the Champs-Elysées in Paris: Walhalla created the entire corporate design for the newly opened image center Atelier Renault.Etat-News Walhalla designs Paris facade
This includes the unmistakable façade signage of the new building, which is to represent the Renault brand with a restaurant and cultural events. Since the
December 1, Valhalla is also represented in Zurich.
Five friends
launch 20Min.ch
The Zurich advertising agency Fünf Freunde won the launch budget for 20Min.ch, which has been online since December 8. The portal of the commuter newspaper was introduced with an event, advertisements and radio spots. Business-to-business measures will follow. Fünf Freunde, which belongs to the Dietikon agency FKP & Partner, is said to have prevailed in the pitch against the 20-Minuten regular agency Simko.

Gross advertising expenditure in October with weakest growth rate of the yearGross advertising expenditure in Switzerland recorded by far the lowest growth this year in October, rising by just 1.6 percent to CHF 402.057 million. Responsible for the low overall growth are the daily newspapers, which took a dive of 5.5 percent or a good ten million Swiss francs to 171.926 million compared to the same month last year. And because daily newspapers account for over 40 percent of gross advertising expenditure, their poor performance is also reflected in the overall result. Positive overall year despite minus in October
On a cumulative basis for the first ten months of the year, however, daily newspapers are still doing very well, with an increase of 7.3 percent.
Meanwhile, most other media categories performed positively in October. Consumer magazines even posted their best result in three months, with growth of 14.7 percent to 74.812 million Swiss francs, and trade magazines also continued to be in top form, with an increase of 20.6 percent to 28.51 million Swiss francs.
Advertising revenues went in the other direction for television, down 8.2 percent to CHF 69.244 million, or for cinema, down 2.7 percent to CHF 4.457 million in October. Both television and cinema were now down for the second consecutive month. Radio, which has shown the steepest growth curve of all media this year, also took a breather in October, growing by "only" 7.4 percent to CHF 11.938 million.
Teletext improved at almost the same pace, by 7.2 percent to CHF 1.783 million. Also doing well was billboard advertising, which increased by 10.9 percent to 35.665 million Swiss francs. Daniel Schifferle
gross advertising expenditure by media

October 1999/2000 in comparison
in 1000 Fr. 1999 in 1000 Fr. 2000 +/-%
Daily newspapers 181,928 171,926 - 5.5
Publ. journals 65 215 74 812 14.7
Trade journals 23,638 28,510 20.6
TV 75 393 69 244 - 8.2
Radio 11 114 11,938 7.4
Cinema 4,580 4,457 -2.7
Teletext 1,663 1,783 7.2
Poster 32 160 35 665 10.9
Internet Banner - 3 722 -
Total 395 691 402 057 1.6
Source: Media Focus Hergiswil (NW)

The Print Quality Control (PQC) service, which is unique in Europe, was initiated by the Zolliker company Media Audit and Ringier Print and developed by Empa. Ringier, Tamedia, Basler Mediengruppe and Berner Tagblatt Medien are the first publishers to submit to the control.In the process, the ad copy and the published ad are compared using a photospectral measuring device. If color values deviate too much from the original, the customer can demand a replacement.
The contacts for checks are Media Audit and Ringier Print. The latter carries out the checks at the customer's request and against payment. (mk)

Internet agency Cybersystems Advertainment invites all advertising and media agencies to an online competition.Service agency competition of Cybersystems
A ski happening in Arosa beckons the winning team. The aim is to familiarize agencies with the possibilities of online games as an advertising tool. Until the end of December, every agency employee can take part in the game at www.machensieihrekundenhappy. ch can take part in the game.
Best European Design 2000Each year, the national clubs of the umbrella organization ADC of Europe award prizes to the most creative works in their country. Gold and silver medal winning works then face the vote of a European jury. The results of "The Best of European Design and Advertising Award 2000" will be published in the ADC of Europe Annual in December. The Annual is published by Laurence King Publishing in London, ISBN 1-85669-225-6.
Direct Marketing Prize 2001 On April 27, 2001, the Swiss Direct Marketing Prize will be awarding prizes for outstanding achievements in the industry for the third time. The number of categories has been streamlined from 13 to 10. Because the number of campaigns submitted increases every year, the entries are now preselected by a jury committee. Campaigns that make it into the main field will be judged by a jury of sixteen. Impiric Chairman Jörg Rindlisbacher was elected as jury president. The deadline for entries is January 31, 2001. For more information, call 041 785 55 56 or visit www.dm-preis.ch.
APG planning tool updatedThe APG planning tool for the rough calculation of poster campaigns in Switzerland has been revised in view of the budget year 2001. In addition to some technical adjustments, poster campaigns for the cities of Yverdon, Uster, and Frauenfeld can now also be calculated. The tool is structured as an Excel file and enables simplified calculation of the most important quantitative media performance values: reach, OTS, and CPM. It can be downloaded from the Internet: www.apg.ch/for schung/planungstool-en.htm