CD Markus Holenstein, AD Chris Burkhard, copywriter Michel Bozikovic, head of consulting Urs Walter and marketing communications planner Beatrix Jakob set up their own creative agency called 5 Freunde.The new company did not come out of nowhere, but split off from FKP & Partner in Dietikon. 5 Freunde starts out as a business unit of FKP, but intends to become independent in the longer term. "By outsourcing, we can venture into other customers and other goods," explains Urs Walter. The motto is to move away from capital goods and business-to-business to consumer and durable goods. "We want to be among the very creative agencies and also get in on the dice," says Walter, laying out the goals. This includes moving from Dietikon, which is unpopular with creatives, to Zurich's Konradstrasse.
For the time being, CD Markus Holenstein and Urs Walter are co-owners of the agency. The latter can well imagine further participations: "The name 5 Freunde has nothing to do directly with the number of people, it is rather meant to express team spirit and fun at work."
The circle of friends will take some orders from FKP. Walter, however, is pinning his hopes above all on new pitches. As of now, the 5 friends are ready to take on creative challenges. (ba)

(Values = index "supporters" of the ad versus the average of all ads in the industry; 1.00 = average = 100%)Best of Print Advertising 1999 The 1999 ad hits from the advertising index of the market research institute Demoscope
In cooperation with the market research institute Demoscope, Publimedia presents the readers of WerbeWoche five times a year with an excerpt from the
Results from the Advertising Index (AX Print). This index (see box) is a module of the Market Radar and measures the popularity of advertising subjects. In the top two rows are those subjects that achieved the greatest acceptance in the relevant psychographic target group (see wind rose). The three subjects that performed best in the entire sample, i.e. in all four target groups, in the past year are shown under the heading "Top three".
Advertising IndexFor the Advertising Index ad tests, a representative sample of around 800 people is surveyed in eight waves. The respondent first completes a psychological test (50-item test) and then flips through a magazine with 45 ads. As with reading a magazine, the respondent is free to spend as much time as he or she likes on each ad in the test. Before turning the page, she rates the ad on a scale of 5 ("appeals to me a lot") to 1 ("doesn't appeal to me at all"). Supporters are people who are "very" or "fairly" appealed to by an ad. The acceptance of advertising determined in this way correlates strongly with other functions of advertising impact and is therefore suitable for benchmarking.
For the segmentation of the sample according to target groups, Market Radar uses a psychographic test, the so-called 50-item test. With the help of this test, the value orientations of the respondent are determined and assigned to one of the psychogram fields (see wind rose). The value orientations range from South (conservative) to North (progressive) and from West (outward-looking, materialistic) to East (inward-looking, idealistic).
Further information on the Advertising Index and the Market Radar is available from Demoscope. Planning support with the Advertising Index, the Radar and new
with the Print Advertising Monitor (PAM), Publimedia.
Watches Chopard Mille Miglia 1.25

Car Mercedes-Benz V-Class - Geissenpeter 1.67
Drinks Swissmilk milk gives strong bones 1.98
Cigarettes Philip Morris Superlights - window 1,50
Body Care L'Oréal Visible Lift 1.51

Piero D. Rimoldi's magazine is to be published bimonthlyPromising niches are a rarity in the saturated music magazine market. Nevertheless, Piero D. Rimoldi believes that he has discovered an uncharted territory in Switzerland with his new magazine Classic. The recipe: to address the music fields of classical music and jazz in one magazine. "We are clearly targeting active concertgoers," says Rimoldi.
In the content of Classic, this claim is reflected in a broad overview of upcoming events. According to Rimoldi, just under half of the magazine is intended to create transparency about concert events in Switzerland. The menu is garnished with background reports on musicians and trends, musical novelties and stars in the Swiss sky of new talent.
Piero D. Rimoldi is both publisher and editor-in-chief of Classic. The content for the magazine is created exclusively in collaboration with freelance journalists. The first issue, which appeared last week, features an old acquaintance: Roger Cahn, the last editor-in-chief of the now defunct ZüriWoche, criticizes a performance at the Schauspielhaus on several pages, discusses the program of the opera house and writes about bel canto.
Classic is printed in a circulation of 65,000 copies and distributed free of charge in the most important theaters and jazz venues. In addition, colporteurs distribute the magazine after important performances and concerts. Classic is available at the kiosk at the not immodest price of 12 francs.
With the newly founded Classic Verlag based in Zurich, Piero D. Rimoldi launches his second publication in the field of going out. The events magazine Inside Züri was already published under his leadership between 1990 and 1995. Daniel Schifferle

For Keystone, Honegger von Matt rewrites the operating instructions of camerasFor the longest-serving client, Keystone, the Zurich-based creative agency Honegger von Matt was once again allowed to design a provocative campaign in its sixth year. While the earlier concept combined surprising Keystone images with casual slogans, and last year Keystone's online division was implemented in a multi-stage campaign, this time the creators went one step further and shot the photos themselves. This is a contradiction, because with such a huge stock of almost eleven million photos, there should really be no need to reach for the camera. Using simple imagery and crude advertising hyperbole, the campaign uses four subjects to demonstrate what the final consequence of such thinking would be: cameras no longer have a raison d'être today. Almost none. Because they are fit for the future all the same. The agency presents the wide range of possible applications in a wonderfully unabashed manner, as the illustrated example of a Hasselblad-like camera exemplifies: The bristles of a toilet brush neatly find a place in its body. A feast for the eyes for all masochistically inclined amateur photographers. page 14

François Gross on his role as "médiateur" at 24 Heures in LausanneA growing number of media outlets have recently created the office of ombudsman, hoping to improve contact with the public and reduce court cases. François Gross is "médiateur" at 24 Heures, the daily newspaper with the largest circulation in French-speaking Switzerland. In an interview with WerbeWoche, he draws a mixed balance.Please tell us briefly how you came to your job as ombudsman.
François Gross: In the fall of 1997, I was asked by Edipresse if I wanted to take on the newly created post of "médiateur. Initially, there was talk of an ombudsman for the whole group. But that seemed too much for me.
Why?
Gross: As a "médiateur," you should know the editorial offices from the inside if possible. But I didn't know Le Matin and Tribune de Genève very well. Finally, a "médiateur" was appointed for each of the three daily newspapers.
And then in June 1998, you started as the ombudsman of 24 Heures.
Gross: Right.
What does your job actually consist of?
Gross: My job is quite simply to deal with complaints about the newspaper and to give my verdict. I do the latter in two ways. On the one hand, in direct contact with the "plaintiff," and on the other hand, publicly. Every two weeks, I publish an article in 24 Heures in which I comment on some of the problems submitted to me.
But, like the Press Council, they are an exclusively moral authority, not a court of law?
Gross: That's right. The "médiateur" is not a tribunal of first instance, nor is it a court of appeal.
Let's say I have 24 Heures to reproach. I turn to you. What happens then?
Gross: First of all, I try to understand exactly what you are complaining about. In many cases, I then also listen to the other side, the editorial team. I form my judgment and make it known. It's as simple as that.
Let's assume that the editorial team has made mistakes, for example, violated journalistic ethics. What can you do?
Gross: I can give my opinion, but that's all.
You have no right to issue instructions to the editorial team?
Gross: The only power the "médiateur" has is his moral authority.
What is your relationship with the editorial team?
Gross: In the beginning, there was a certain skepticism and resistance. I had to make it clear to the editors that I'm not a "super editor-in-chief," but a journalist who speaks his mind and can also take problems off the editors' shoulders.
Has the skepticism disappeared?
Gross: A little bit, I think.
Do you intensively seek contact with journalists?
Gross: Yes. But at the same time I try to respect the official channels. If I want to get the opinion of the editorial team, I go to the editor-in-chief.
How many "lawsuits" do you get on average?
Gross: About four to five per month.
Do you actually have to be affected yourself to get to you?
Gross: No. Anyone who wants to accuse the newspaper of something can contact me, even if they don't feel personally affected by the newspaper. One condition, however, is that no legal action is taken at the same time.
And what do people complain about the most?
Gross: A large proportion of the complaints concern the letters to the editor section. Many writers of letters to the editor complain because their letters were not published or not published quickly enough or to the desired extent. This may have to do with the letters editor rejecting their letters because of racism or xenophobia.
So the problem of racism is one of your ongoing concerns?
Gross: Yes. It's one of the hot questions I have to deal with chronically. People often have the feeling that the letters to the editor section is a legal vacuum. The only thing is that I have to keep pointing out to them that the publisher is also responsible for the content of the letters to the editor page, so the legal norms apply here as well.
What are the other main issues you need to take a stand on?
Gross: What always gives rise to polemics is the treatment of religious topics or sexuality in newspapers.
Do you think the "médiateur" is a suitable way to dampen the pressure on the media and reduce the number of lawsuits?
Gross: My balance sheet is mixed. I don't think this institution is sufficiently well known. I'll give you an example: 24 Heures recently reported on a school that expelled an African student. The teachers feel vilified because they were wrongly accused of racism. They could have come to me. They didn't and protested elsewhere.
Many people feel like victims of the media. Surely we journalists should give them the opportunity to comment on our work...?
Gross: ...that's right...
...but what to do to get people to speak better?
Gross: The letters to the editor section is a very important section that should be cultivated more. It is not good if a journalist looks after this section with his left hand, so to speak.
What should still be improved?
Gross: "Médiateurs" would have to be even better integrated into the media houses. But they have to be careful not to lose their independence, otherwise their authority will be lost.
Interview: Christophe Büchi
Full-blooded journalistFrançois Gross is a resounding name in French journalism. The publicist, now 69, was editor-in-chief of the daily newspaper Liberté in Freiburg/Fribourg from 1970 to 1990. He turned the former Catholic-conservative "Pravda" into an independent, critical and respected newspaper. After 1990, he worked as a correspondent in Zurich. Finally, he was editor-in-chief of Radio Suisse internationale.

Affinity of ads among supporters in the "Christian camp "Best of Print Advertising 1999 The 1999 advertising hits from the advertising index of the market research institute Demoscope
In cooperation with the market research institute Demoscope, Publimedia presents the readers of WerbeWoche five times a year with an excerpt from the
Results from the Advertising Index (AX Print). This index (see box) is a module of the Market Radar and measures the popularity of advertising subjects. In the top two rows are those subjects that achieved the greatest acceptance in the relevant psychographic target group (see wind rose). The three subjects that performed best in the entire sample, i.e. in all four target groups, in the past year are shown under the heading "Top three".
Advertising IndexFor the Advertising Index ad tests, a representative sample of around 800 people is surveyed in eight waves. The respondent first completes a psychological test (50-item test) and then flips through a magazine with 45 ads. As with reading a magazine, the respondent is free to spend as much time as he or she likes on each ad in the test. Before turning the page, she rates the ad on a scale of 5 ("appeals to me a lot") to 1 ("doesn't appeal to me at all"). Supporters are people who are "very" or "fairly" appealed to by an ad. The acceptance of advertising determined in this way correlates strongly with other functions of advertising impact and is therefore suitable for benchmarking.
For the segmentation of the sample according to target groups, Market Radar uses a psychographic test, the so-called 50-item test. With the help of this test, the value orientations of the respondent are determined and assigned to one of the psychogram fields (see wind rose). The value orientations range from South (conservative) to North (progressive) and from West (outward-looking, materialistic) to East (inward-looking, idealistic).
Further information on the Advertising Index and the Market Radar is available from Demoscope. Planning support with the Advertising Index, the Radar and new
with the Print Advertising Monitor (PAM), Publimedia.

The best web designers can instantly convert keyboard characters into numbers—without even looking, so to speak. That’s the view of the Zurich-based advertising agency Honegger von Matt, which posted a 12-square-meter poster near the University of Zurich a week ago in search of qualified professionals. According to the two creators, Markus Ruf and Daniel Meier, computer whizzes would have had no trouble deciphering the phone number. The answer is: 01 387 84 00. APG is launching electronic «large-format posters.» The board of directors of the Affichage holding company plans to enter the electronic outdoor advertising market with so-called «big screens.» These large-format “screens” (several dozen square meters) can be controlled online and their content updated. Animations are also possible. APG will install its first such “Big Screen” at Zurich’s main train station later this year, with additional screens to follow at train stations in other Swiss cities.
Jesus was thrown out of the temple. He wanted to advertise like Jesus—provocatively and with just one slogan: «Love your neighbor.» Now that idea has been the undoing of him. Oliviero Toscani has been fired by Benetton. The graduate of the Zurich School of Applied Arts, who preferred to use blood-stained newborns, copulating horses, or AIDS patients as models, took over responsibility for advertising the sweaters from Treviso in the mid-1980s. At that time, cute children dominated Benetton’s billboards worldwide. Toscani later described what bothered him about this in his book *Advertising Is a Smiling Carcass*.
New Business Survey on the Y&R Network. Y&R Business Communications, Geneva, is launching an online survey on the European economy. Every two months, Eurostatus 2000 (www.eurostatus.com) will gather the opinions of businesspeople on companies, the economic situation, and other business topics. Partners in the survey include Y&R subsidiaries The Media Edge and Futurecom, as well as the publishers Centaur Publishing, Usine Nouvelle, and Vogel Industrie Medien.
SRG Extends Contract with the UEFA Champions League. SRG and UEFA have renewed the contract for the broadcast of Champions League matches—which was set to expire at the end of May 2000—for three years, through the 2002–03 season. The parties have agreed not to disclose the financial terms of the agreement. SF2 airs highlights every Tuesday and provides comprehensive coverage on Wednesdays, including a pre-game show, live coverage of a match, and a recap of the other games. TSR and TSI will broadcast live coverage of selected matches on their secondary channels on Tuesdays and Wednesdays, respectively.
Even the pope gets it for free. The free commuter newspaper *Metro* is set to launch in Rome this fall. The Swedish parent company has signed an agreement with the authorities in the Italian capital to distribute the paper on all public transportation.
New Organizational Structure at Cinecom. The Zurich-based media marketing company Cinecom & Media AG has created the new position of Chief Sales Officer, which will be filled by Tarkan Özküp, previously head of the Cinema and Print divisions. As CSO, he will take over responsibility for key accounts from CEO Matthias Luchsinger, who intends to focus more on strategic tasks.
NZZ Acquires Südostschweiz’s Parent Company. The AG für die Neue Zürcher Zeitung (NZZ), along with its affiliated companies and individuals, holds a 58 percent stake in Buchs Medien AG, which publishes the regional newspaper Werdenberger & Obertoggenburger (W&O). Südostschweiz, with which W&O has a cooperation agreement through 2006, owns 18 percent. The figures were announced at the Buchs Medien annual shareholders’ meeting on April 29. According to the W&O editorial staff, the cooperation with Südostschweiz is to continue.
Andy Award for Anti-Landmine Poster. McCann-Erickson, Geneva, won one of only two European awards at the International ANDY Awards in New York for its anti-landmine campaign commissioned by the ICRC. Springer & Jacoby of Hamburg won an Andy for their DaimlerChrysler print ad. The winners were selected from 10,000 entries from around the world.
New Publishing Director for Cash. Thomas Passen, 30, is taking over as the new publishing director of the business newspaper Cash, replacing Bettina Fischer. Ringier announced that it had parted ways with Fischer due to differences of opinion regarding the management of the publishing house. Word in the industry is that Fischer’s arrival at Cash also sparked an unusual wave of staff turnover. Passen previously headed the two publications Gesundheit-SprechStunde and MEX Musenalp Express.
Le Temps Launches TV Magazine. The French-Swiss daily newspaper Le Temps is launching a new TV magazine titled TéléTemps. It will be published for the first time this coming Saturday as a supplement to the daily newspaper. The 56-page magazine features around 30 editorial articles, including some on the topic of the Internet. According to the magazine, its goal is to «cover television culture broadly.» For the first few issues, the print run of TéléTemps will be increased to 100,000 copies; the regular print run will then be 52,000 copies.
Summer Seminar for Communications Professionals. Sawi and the FRP (Fédération Romande de Publicité et de Communication) are organizing a summer seminar in Mayens-de-Chamoson, in the canton of Valais, from August 16 to 19, 2000. The course is aimed at communications professionals from French-speaking Switzerland who wish to explore the latest trends in communications technology. Last year’s seminar had to be canceled due to a lack of participants, prompting the organizers to rethink the concept and implementation.
Editorial: Homo sapiens, the Goal-Scoring Machine
Before the liberalization of the electronic media, Europe was concerned about its millennia-old culture in the late 1980s. Quotas were intended to counter American cultural hegemony. In the meantime, an independent audiovisual industry has developed in the Old World, and our private broadcasters are increasingly relying on in-house productions. European formats such as «Robinson» or «Big Brother» even seem to appeal to the tastes of American private
to meet with TV networks. CBS plans to launch a «Big Brother» series at the end of May
air the show «Survivor,» which was produced in the U.S.
The daily goings-on in the «Big Brother» TV house achieve a 25 percent market share among 14- to 49-year-olds in Germany. Among the 14- to 29-year-old target audience, the show is said to have even surpassed the 40 percent mark on several occasions. No wonder, given that the
TV-3 executives should consider bringing a similar show to their channel.
Meanwhile, tempers are running high here. Shows like «Big Brother» are under fire from critics. «Television is getting dumber and dumber,» rants Beni Thurnheer (sic!) in *Blick* against these reality shows. «The lower the quality, the higher the ratings,» is the verdict of Switzerland’s most popular TV host.
Kurt Imhof offers a more nuanced assessment in the interview on page 49. The media sociologist from Zurich sees this “striptease of the soul” in front of the camera more as a human need that is being met by the media.
The irony of history: The future that George Orwell so vividly and darkly depicted in 1948—this future of «Big Brother»—has begun. Only, once again, things have turned out differently: The conservative fear that a perfected state apparatus is the enemy of the individual has received an unexpected rebuttal: It is society itself that we must fear—ultimately, we, as a species, are watching ourselves. And since the media have become the marketplace where modern society communicates, they lead us back to the age-old question: What is a human being? A ratings chaser, of course.
Samuel Helbling

A new campaign by the U.S. agency D'Arcy Worldwide is intended to radically change the image of CadillacBy Werner Catrina Cadillac is the gas-guzzling luxury car for the rich and show-offs. That's more or less the image of the American sedan in Europe. Once upon a time. "With our new global advertising campaign, we want to appeal to a young, technically interested clientele," explains Kim Kosak, Director of Advertising and Promotion for the Cadillac Motor Car Division.
"Cadillac has a lot of technical innovations to offer. And we want to make that plausible to a new target group worldwide," says the advertising director on the 23rd floor of the Renaissance Center in Detroit, the new headquarters of General Motors. To this end, the American automaker has secured the help of advertising agency D'Arcy Worldwide.
Let's look back for a moment. In 1902, the founder of the exclusive car manufacturer, Henry Martyn Leland, had the first Cadillacs assembled in Detroit. He named the cars in honor of the French explorer Antoine de la Mothe Cadillac, who had founded Detroit in 1701.
For a long time, Cadillac, which was only produced in small numbers, was synonymous with high quality, elegance and exclusivity par excellence. In the 1930s, the company sold a total of 13,000 sedans. After the war - Cadillac now belonged to General Motors - production increased steadily, and the styling of the sedans became increasingly daring. The 1959 Eldorado model marked a solitary high point with its gigantic tail fins.
Marylin Monroe and Gary Cooper stepped out of opulent automobiles - in the movies and in the real world. The Cadillac brand name was "Top of the World," as Ms. Kosak puts it; no other automobile better embodied the luxury and glamour of the American dream.
After the oil crisis, production went steadily downhill
Around 1973, output peaked at around 300,000 cars, but then the sheikhs' quadrupling of the price of oil put a crimp in the success curve of the thirsty sedans. At least the hastily slimmed-down DeVille luxury car remained for the wealthy, older clientele. The Seville positioned itself as a sporty Cadillac. The Allante, launched in 1993 and styled by Pininfarina, only made a few thousand units. The Catera, built on the basis of the Opel Omega launched in Europe, came onto the market in 1997 as a "Cadillac light," so to speak, a compact entry-level model for a younger target audience.
In the meantime, the total production of all models is around 200,000 units per year. Most "Cadis" find buyers in the USA, where, admittedly, the successes of the European luxury brands and some expensive Japanese automobiles put pressure on sales figures.
Six swans give way to stylized bars
The days are not far behind when U.S. advertisers proclaimed, "American Brands for Americans." Back then, Cadillac and Ford Lincoln battled it out almost unmolested by Mercedes and Jaguar. The duel ended in a landslide victory for Cadillac. However, the Lincoln Continental became engraved in the collective subconscious of mankind as the sedan in which President Kennedy fell victim to an assassin on the streets of Dallas in 1963.
In advertising, Cadillac used to show only an automobile in elegant surroundings, accompanied by the Cadillac emblem. But even this emblem, originally decorated with six swans, has recently been restyled. The feathered fowl had to give way to stylized beams, and the crown that once hovered above the crest is gone.
On the other hand, the laurel wreath has become denser, probably as an indication of the latest coup: Cadillac has announced its return to international motorsport, in which it had been involved in the fifties and sixties, but then withdrew because the gasoline fumes of the racetracks were not compatible with its glamorous image. The newly developed racing car that will thunder away at this year's Le Mans 24-hour race fits in with the dewy, sporty Cadillac image.
Cadillac new as "Drivers Car" with expressive designs
"Design & Technology" is the headline of the radical new advertising campaign from the kitchen of the D'Arcy agency, which has branches in Detroit and Los Angeles. No wonder Kim Kosak praises the BMW campaign "The ultimate driving machine" as exemplary.
Cadillac can indeed look back on a rich technical heritage. Shortly after its founding, the company came up trumps with the first V8 engine and later surprised the experts with the electric starter, which revolutionized driving. Many other technical highlights followed, but Cadillac advertising almost never used to herald technology.
The new communication strategy, which includes PR, advertising, product placement and participation in car races, is intended to position Cadillac as a "Drivers Car," an automobile with the latest technology. The prototype Evoque presented in 1999 and the Imaj study shown at the Geneva Motor Show point the way, unusually expressive designs with a Cadillac face. The Catera concept car, which is to be launched in 2002, is heading in the same direction.
A car is more than just the sum of its parts
"The campaign is based on the idea that bringing two disparate elements together can create a single, powerful idea," explains Patrick Sherwood, president of D'Arcy, "so the combination of Design & Technology means much more than connecting individual elements." John F. Smith, vice president of General Motors and general manager of Cadillac: "This campaign articulates the internal process of redefining Cadillac's future as a truly global brand. It paints an intense and highly emotional picture of Cadillac."
Cadillac's creative team combines a wide variety of contrasting elements to create a new unity. Style & performance, art & science, and even day & night or man & woman are what the advertisers are harnessing for Cadillac. Somewhat irritating are the full-page ads with an "&" in the middle of a white space; because this commonplace "it" sign as a dominating signal for an exclusive brand does not seem very convincing. And the headline "The Power of &" also leaves some contemporaries perplexed, at least for a moment.
"Cadillac is now targeting the global market," says Dutchman Jan-Willem Vester, formerly an automotive journalist and recently appointed head of international communications at Cadillac in Detroit. "Cadillac is being positioned as the first global luxury automobile," boldly affirms the young Italian Piergiorgio Traverso, new Global Brand Marketing Manager, who earned his spurs at Ford in Zurich, among other places. Two Europeans, together with an American, are responsible for the global marketing of the American icon, which signals a paradigm shift in the self-image of the beleaguered brand.
The Cadillac campaign no longer shows glitz and glamour, but tangible technical innovations. The image strips running across the ads present technical innovations in combination with emotional elements such as children or the American flag. Brand new is the Night Vision, originally developed for the American Army, with which the DeVille DTS is equipped as the only automobile worldwide.
The infrared system highlighted in the commercials allows obstacles to be detected on a screen at night for hundreds of meters and reacts in good time to crossing moose or stranded PWs. Incidentally, to signal the image shift toward technology and driving fun, the TV commercials are shown during major sports broadcasts.
Stars and stripes are not desirable everywhere
"Stars & Stripes" as another element of the campaign is suitable as a hook in New York or Wisconsin, but in Arab countries or Indonesia, the American flag generates defensiveness. "We are in the process of harmonizing the entire campaign globally," explains Kim Kosak, "a subject with a fashionably dressed woman at the wheel of a Cadillac is not suitable for Oman, but is right for Europe."
The Americans, accustomed to viewing the rest of the world as a quantité négligeable, have a lot to learn when it comes to implementing the global advertising campaign, which was largely realized in the USA. The Renaissance Center in Detroit is unwilling to comment on the costs of the campaign, but they are in the high double-digit millions.
Targeting Europe's successful young up-and-comers
In the U.S., Cadillac will hardly be able to make any more big gains because of the growing competition from foreign high-class cars. That's why the advertising and marketing strategists are setting their sights on the Old World.
In Europe as a whole, however, Cadillac sold just 1050 cars last year, 200 of which were Seville models in Switzerland. "Cadillac can compete technologically with the top European models," says Jan-Willem Vester with conviction. Young, ambitious up-and-comers are to be won over in Europe with the advertising offensive. "The brand is bold, filled with pioneering spirit and intelligent and inspiring in concept," says Kim Kosak, "Cadillac has decidedly changed, that's the message!"

Affinity of ads among supporters in "Yuppieland "Best of Print Advertising 1999 The 1999 advertising hits from the Advertising Index of the market research institute Demoscope
In cooperation with the market research institute Demoscope, Publimedia presents the readers of WerbeWoche five times a year with an excerpt from the
Results from the Advertising Index (AX Print). This index (see box) is a module of the Market Radar and measures the popularity of advertising subjects. In the top two rows are those subjects that achieved the greatest acceptance in the relevant psychographic target group (see wind rose). The three subjects that performed best in the entire sample, i.e. in all four target groups, in the past year are shown under the heading "Top three".
Advertising IndexFor the Advertising Index ad tests, a representative sample of around 800 people is surveyed in eight waves. The respondent first completes a psychological test (50-item test) and then flips through a magazine with 45 ads. As with reading a magazine, the respondent is free to spend as much time as he or she likes on each ad in the test. Before turning the page, she rates the ad on a scale of 5 ("appeals to me a lot") to 1 ("doesn't appeal to me at all"). Supporters are people who are "very" or "fairly" appealed to by an ad. The acceptance of advertising determined in this way correlates strongly with other functions of advertising impact and is therefore suitable for benchmarking.
For the segmentation of the sample according to target groups, Market Radar uses a psychographic test, the so-called 50-item test. With the help of this test, the value orientations of the respondent are determined and assigned to one of the psychogram fields (see wind rose). The value orientations range from South (conservative) to North (progressive) and from West (outward-looking, materialistic) to East (inward-looking, idealistic).
Further information on the Advertising Index and the Market Radar is available from Demoscope. Planning support with the Advertising Index, the Radar and new
with the Print Advertising Monitor (PAM), Publimedia.

Marilyn Monroe and Gary Cooper loved the car with its opulent shapes. But with high-tech instead of tail fins, General Motors wants to give the brand more style again instead of just well-curved sheet metal. How the new image is to be sold by the advertising agency D'Arcy Worldwide can be found on page 22.

Layout chief Willy Lüscher gives the tabloid a new layout "Readers won't notice much," orated Blick editor-in-chief Jürg Lehmann in Ringier's in-house magazine Domo. He was right. Those who held last Tuesday's Blick in their hands hardly noticed the changes in layout. Only a close comparison of the old and new appearance shows the quite numerous innovations. They range from a changed image and text dramaturgy to the reduction of the number of columns from seven to six and new fonts. Better differentiating between big and small stories was one of the guidelines for the relaunch. This principle also applies to the images, which now do without the black framing: The lead image is given more weight, while the other page images are subordinated.
Decluttering was another focus for the new layout. The number of design elements has been greatly streamlined. The look also uses boxes more sparingly than before. And fresher colors are the order of the day: texts previously highlighted with "syrup" are now given a beige color as a primer, which should increase readability.
One of the most striking changes, the switch from seven to six columns, ends an old problem. Says Lehmann: "We are now much more successful in avoiding unsightly holes in the text."
Kurt Schwerzmann rebuffed by Michael Ringier
The road to the new layout was an arduous one. A year ago, media designer Kurt Schwerzmann had already been commissioned to develop a new visual concept for Blick. But his proposals were rejected by the management. The criticism: "Too elegant and not enough boulevard."
For the next round of presentations, Blick layout chief Willy Lüscher and his team were also invited to prepare a layout proposal. And lo and behold, the in-house project found favor over that of master Schwerzmann. Daniel Schifferle

In an ad in Marketing & Kommunikation, Lesch+Frei calls on readers to squeeze ad pricesBy Daniel Schifferle It's not creative competence - heaven forbid! - but with skill in squeezing ad prices, the Zurich agency Lesch+Frei advertises itself in the latest issue of Marketing & Kommunikation.
The statement couldn't be clearer: "We've negotiated the price of this ad placement down by 50 percent," proclaims the first page of the double-page ad, followed succinctly on the second: "What can we do for you?" Signed Lesch+Frei. The ad has caused astonishment and head-shaking among experts.
Peter Hartmeier, managing director at the Swiss Press Association, is surprised that a creative agency, of all things, is advertising itself with tariff issues instead of creative competence: "This ad can only have a negative effect on the image."
Hartmeier's criticism is also directed at Marketing&Kommunikation (M&K): "I'm amazed that M&K accepted this ad at all," he says, "any customer who advertises in this magazine before or after must feel taken for a ride."
Hartmeier also describes as absurd the point at which the tariff argument comes to the fore. When the advertising market is booming, negotiating leeway is naturally tighter. Hartmeier sees the contentious ad as an indication of a trend: "People are haggling harder over rates today."
Peter Lesch of Lesch+Frei explains the genesis of the contentious ad primarily with deadline pressure. The two pages had been reserved for the Meyer's launch campaign. But this would have had to be postponed at short notice. "We needed a quick idea," says Lesch. For its part, M&K tried to be accommodating - with the discount that the ad blatantly proclaims.
"Of course there was a twinkle in our eye when we formulated the text," says Peter Lesch. But at the same time, he says, "If someone takes the statement seriously, that's also good." At best, Lesch sees the ad as a satire on reality in today's tariff jungle. "Large media agencies can exert enormous pressure," says Lesch. Compared to such buying power, an agency like Lesch+Frei, which does media in-house, naturally has much fewer options.
Marketing & Communication shows itself speechless
It is astonishing that M&K, of all places, as the official publication of various industry associations, such as Swiss Advertising SW, accepts an ad that advertises bargaining down rates.
At M&K, they are playing the matter down and do not want to be quoted with statements under any circumstances. Urs Dick, head of advertising, says only this much: "In principle, tariff compliance applies to us." However, he admits that there are exceptional situations in which an ad is only overturned at the last minute. When the presses are running, solutions have to be found.
Whether this special case had also occurred with the Lesch+Frei advertisement? M & K is silent about this. In order to clarify this in a binding manner, all parties involved would have to sit around a table and discuss the details, says Dick. So this is how difficult the advertising business can be to understand when it comes to tariff issues...