Ferdinand Mengis had shaped the group of the same name for 60 years. He began working in his father's print shop in 1951 at the age of 24. According to the Mengis Group, he enjoyed great respect among partners, customers and employees as a goal-oriented patron who was keen to invest. Keeping pace with the rapid advances in printing technology was also a constant concern of his. The Mengis Group is now managed by his son Nicolas, the third generation of the family to do so. It was founded in Visp in 1931 by Klaus Mengis. The Valais Messenger, founded in 1840, has also been printed by the Mengis printing company since 1932.

Ferdinand Mengis retired from the chairmanship of the Board of Directors in 2011. With 230 employees, the Mengis Group is still one of the largest private companies in Upper Valais. In addition to the printing business, Ferdinand Mengis also founded the Rottenverlag publishing house in 1973. This has published over 300 books in the past 40 years. This legacy makes a significant contribution to the cultural and social identity of today's Upper Valais. (SDA)

Image: Mengis-visp.ch

This year, the Haus der Kommunikation in Zurich was once again transformed into a Munich beer tent: on October 24, agency clients and employees celebrated Oktoberfest together in dirndls and lederhosen. Since last year's Oktoberfest under the motto "Oktoberfest for Beginners," the three agencies in the Haus der Kommunikation led by Christian Baertschi, Claudio Rotter, and Tobias Gärtner have grown considerably, which is why this year's celebration was, so to speak, the Oktoberfest for the advanced. The motto of the party this time was "Bavaria meets Zurich" and signaled the affiliation with the Serviceplan Group, which has its headquarters in Munich. With a rollicking atmosphere, brass band music, Weisswurst and pretzels, over 250 guests enjoyed the evening.

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The traditional Bavarian celebration in Zurich Hottingen was dedicated to the customers and the trust they place in the integrated agency concept, which is unique in Switzerland. Since the middle of last year, the House of Communication has been home to the advertising agency Serviceplan Suisse, the PR agency Serviceplan Public Relations Suisse, and the digital agency Plan.Net, and is the workplace for more than 60 employees working across communication disciplines.

Werbewoche was on site - photos in the upcoming issue.

 

From the Syrian-Turkish border to North Korea and the Ukrainian revolution: the album "Reportages for Freedom of Information" tells stories from a non-healing world in pictures and words. The story of a North Korean prisoner who escaped from a labor camp, for example, is juxtaposed with images of a normal-seeming everyday life in Pyongyang. Strong images from Maidan Square are accompanied by a text by Russian writer Mikhail Shishkin. And two reporters who look behind the clichés report on the carnival in Haiti.

The album contains images by Thomas Kern, Meinrad Schade, Pascal Mora and Anja Niedringhaus, among others, and texts by Arnaud Robert, Kurt Pelda and Christof Moser. All authors and photographers have made their work available to ROG Switzerland, as a matter of course and generously, according to a statement.

In addition to the traditional form of journalism - text and images - the volume also shows what the new media have done and are doing. And what censors and opponents of freedom of information come up with to prevent the free expression of opinion on the net. It does this with excerpts from the ROG report "Enemies of the Internet," using the examples of China, India and Great Britain, among others. In addition, an article sheds light on the special relations between Switzerland and the USA in connection with the NSA scandal.

"Les grands reportages pour la liberté de l'information/ Reportages for Freedom of Information" is published bilingually (French and German) and comprises around 100 pages. The album is distributed via bookstores and newsstands and can be ordered at Rsf-ch.ch can be purchased here. It is one of the illustrated books published by ROG Switzerland, which the organization uses to raise awareness of freedom of information. In addition, the proceeds from the sale of the volumes make up one third of ROG Switzerland's income. The albums, especially the present volume, demonstrate at the same time what journalism can achieve: to direct the public's gaze to the world with its partly "forgotten" conflicts.
 

To announce the reopening of the Lerchenfeld curling hall, the agency steered a remote-controlled curling stone through the streets and alleyways of the city, from the hall to the cathedral - the cathedral that is part of the key visual designed by Ogilvy for the various advertising materials for the opening. Three junior curlers from St. Gallen cleared the way for the stone, followed by astonished passers-by and supported by St. Gallen residents who spontaneously joined in. The mayor of the city, the head of the sports department and the director of the Hotel Einstein, as well as a street sweeper known to all as a city original, did not miss the opportunity to grab a broom.

Based on the numerous reactions, those responsible at the curling club are convinced that not only will the upcoming opening ceremony be well attended, but that the campaign has also increased interest in curling in general. This was also demonstrated by the press coverage and the passers-by who - whether young or old - had fun with the curling stone whizzing through the streets. Posters, flyers, advertisements, a program booklet, perimeter advertising, banners, T-shirts and a bath towel were also designed to promote the reopening.

Responsible at the Curling Club St. Gallen: Ferdinand Flühler, Daniel Meuli, Gallus Kappler from the board plus Cyril and Joel Bettschen, Kyrill Oehninger as curler. Responsible at Ogilvy & Mather: Thomas Bolliger (CD), Tino Heuter and Markus Sidler (idea and concept film), Urs Westermann (as graphic designer apprentice, at the wheel of the remote control), design of the key visuals and individual advertising materials Stephanie van Ophuisen (AD) as well as Regula Krebs and Filippo Salmina (graphics), Marcel Kohler (production), Sam Hug (overall responsibility). Film production: DC Pictures (Denny Spirig, director and editor / Remo Hegglin, cinematographer).
 

The striking motifs show clients who know what they want when it comes to implementing their personal investment strategy, but are happy to rely on the global financial expertise of Credit Suisse. They present themselves relaxed and focused on their interests in their own four walls. Thanks to their asset management mandate, they enjoy the good feeling that investment experts are managing their portfolio precisely in line with their personal preferences.

As with the mortgage campaign, Credit Suisse is using a clear layout with bold colors to refresh its brand. The campaign includes print ads, online display, and complementary measures around the POS and in the BTL area.

Responsible at Credit Suisse: Tarkan Özküp (Head of Marketing Switzerland, overall responsibility), Thomas Christen, Alessandro Monsurrò, Nicole Fuchs, Desirée Germann (Marketing Investments & Wealth Planning), Michael Bürgin, Marisa Piffari (Advertising). Responsible at Havas Worldwide Zurich: Frank Bodin (overall responsibility), Michael Kathe (creative direction), Denis Schwarz (art direction), Markus Tränkle (text), Walter Tagliaferri, Rolf Hunziker, Thomas Wettstein (consulting), Jonathan Heyer, Dhondup Tersey (photo/film and production, ALL IN Production), Felix Schregenberger (image editing).

Ellen Ringier has a doctorate in law and is President of the Board of Trustees of the Elternsein Foundation, which publishes the Swiss parenting magazine Fritz+Fränzi. The editorial director of the magazine is the scientist Eveline von Arx, who previously led the Dr. Sommer team at the German youth magazine Bravo. A total of five editors work on the editorial team, four for print and one for online. The magazine has been published ten times a year since 2001 with a circulation of around 100,000 copies (WEMF-certified 103,381 copies). It is dedicated to topics such as pornography consumption, addiction and youth schizophrenia. The magazine is available at major newsstands and can be ordered free of charge by schools, for example. The first issue of the relaunched magazine with a new design and additional sections was published on September 11, and the online presence has also been revised. A mobile version of Fritz+Fränzi has also been available since the relaunch.

WW: Ellen Ringier, Fritz+Fränzi has been published since 2001. Did the new layout and content concept date back to that time?
Ellen Ringier: No, there have been various changes in between. I'm a lawyer and had no idea how to make a magazine. For example, I wasn't aware that you need a publishing director and I also waited far too long to take other professionalization measures. It wasn't until 2007, seven years ago, that we had the layout professionally developed by Beling Thoenen Design, thus creating the face of Fritz+Fränzi that we had known until then. And a year later, in September 2008, we appointed Thomas Schlickenrieder as publishing director.

What made a relaunch necessary?
The old layout was up to date and very attractive for a long time. But we thought we needed to tidy up the magazine a bit. And modernize it.

The new design is reminiscent of "wir eltern". Was that intentional?
No, not at all - that just gives me a fright. But I don't feel that way either. We no longer wanted the white space at the top, but a full-page title image instead. And of course there's only limited scope for positioning the title, it's always at the top of the page. Apart from that, of course, we also follow certain design trends. I think we have created something very unique.

The magazine also has a new name: "The Swiss parents' magazine Fritz+Fränzi". Why the unwieldy title?
Many people who didn't know the magazine thought Fritz+Fränzi was a magazine for children. That's why there was always a need for clarification. We therefore wanted to indicate in the title that it is a magazine for parents. But at the same time, we didn't want to give up the name Fritz+Fränzi, which has long since become a brand. Today, nobody would call a magazine "Der Stern" or "Der Spiegel" either, but at some point such titles simply take on a life of their own. For those who know the magazine, it will remain Fritz+Fränzi. And for the others, the focus and target group are now clearer.

What has changed in terms of content?
We want to be even more solution-oriented and have even more of the character of a guide for parents. This is reflected in the way the topics are presented, right down to the graphic elements. Our readers should get as close as possible to a solution for their problem through boxes, charts, graphics and small text summaries. We see ourselves as a service magazine that pursues the same goals as the Stiftung Elternsein: Firstly, to strengthen parenting skills in a subject area in which there is no other parenting magazine. Secondly, public awareness, i.e. informing the public that families sometimes have serious problems. We must finally stop looking the other way in our country. And thirdly, networking. Originally, the idea was that we would work together with all other non-profit organizations. We wanted to be a mouthpiece for all NGOs - but that still doesn't really work.

What is the weight of the print edition and the online edition?
The print edition is clearly a priority for us and we will continue to focus on print, because our readers demand the printed edition. But we are expanding online step by step. We are giving a lot of thought to the divergence between print and online: What do we bring to print, what online, what becomes the subject of a podcast - which topic takes place in which medium and how? Everything we do, we do with a time horizon of five years. In five years' time, we will see where we stand and whether we still need a print edition at all. I find it difficult to read on a tablet, but the next generation of young people may not know anything else.

The use of augmented reality is also new. Why did you decide to do this?
We wanted to be able to offer additional explanatory or in-depth material on important topics in the magazine, including moving images, which are always more engaging than text alone. And since we decided to focus on print, we didn't want to simply place the additional content online, but rather make it available on the smartphone alongside the magazine using augmented reality. I think every magazine will soon be doing this. We're just a bit ahead of the game. And it's not just our readers who are happy about the additional information, but also our advertising customers about the additional possibilities. They can significantly enhance their advertisements with augmented reality, tell stories, add a short advertising film, etc. The advertising and media agencies at the roadshow were delighted with the range of options.

What influence does the foundation have on the magazine? As President of the Board of Trustees of the publisher Stiftung Elternsein, are you involved in setting the topics?
No, perhaps I didn't do that enough. But of course we have already set the direction by selecting and briefing the editor-in-chief. And if I have ideas for topics, I naturally pass them on to the editorial team. But they are free to choose the final topics. That is also important to me.

How is the magazine financed? Primarily through the Elternsein Foundation, which publishes the magazine and collects donations? Most print products suffer from low advertising revenue, Fritz+Fränzi should be no different ...
Fortunately, that's not the case with us. We never thought it would turn out like this, but at least half of our funding comes from advertisements. Some advertisers have said: "We're placing ads in Fritz+Fränzi because this magazine simply has to exist. We are doing something good and reaching a considerable number of customers at the same time. And fortunately, more and more people think this way.

The magazine will have eight more pages in future and the editorial team also wants to go into more depth thematically. Have new journalists been hired for this?
No. The team is well-rehearsed and has a good network of specialist authors with whom it has also been working for a long time. Briefings are quick and uncomplicated, so the larger scope and the new thematic focus can be handled well.

Fritz+Fränzi is your baby in a way. How do you rate its development?
Yes, exactly, and this baby kept me awake at night for years because I had to somehow find advertisements and donations. But Fritz+Fränzi has long since learned to walk, has grown up, and the more people become aware that there are a lot of unresolved problems in families with children, the more people are interested in the topic and the more people want to find out about it regularly. But Fritz+Fränzi still needs godparents who are prepared to support the magazine financially.

What do you want to achieve with Fritz+Fränzi in the next two years?
I was on Facebook very early on, but then left my account dormant due to time constraints. Now I've been back on it for a week and would like Fritz+Fränzi to be active on social media too. Because I think the importance of Facebook, Twitter and the like will continue to grow. We can use social media by drawing attention to articles in the magazine and on our website, for example. The only chance that print has is to make itself indispensable. The advantage of print can no longer lie in the speed of information flow, but in its depth. And print can interact with online and social media. We absolutely must take advantage of this exciting opportunity.

Interview: Anne-Friederike Heinrich

Ellen Ringier receives PH Zurich Education Award

The interview is available in the Print edition published in Advertising Week 18/2014 on October 10, 2014. Annual, trial and combined subscriptions can be ordered at this link be ordered.

 

Henry Ford already recognized the basic problem of advertising 100 years ago: "I know at least half of my advertising budget works - I just don't know which half." Today, digital communication channels make it possible to analyze the user journey in detail and thus track the effectiveness of advertising measures in real time.

For more than 12 months, Y&R Group Switzerland has therefore already been implementing performance marketing projects and has now bundled its activities in this area by establishing a corresponding unit. A comprehensive performance marketing offering has already been defined that supports customers in constantly measuring and optimizing the effectiveness of ongoing measures. In this way, budgets can be booked in such a way that they generate maximum return on investment. In addition, the data collected provides valuable insights for creation and strategy.

The team of four has already successfully implemented performance marketing measures for clients such as Microsoft, Schroders, and various e-commerce providers and real estate companies. Projects are currently being implemented with further clients.
The Y&R Group is thus bringing an essential part of media planning back into the agency. Y&R Group CEO Andreas Widmer comments: "We see performance marketing as the backbone of modern campaigning. Consumer insights gained in real time are of strategic importance. Today, there is no longer one campaign launch and it's all over - according to the motto "Pay and Pray!". Nowadays, permanent optimization begins with the launch of a measure. This forces us to do the planning and implementation in-house, because only in this "closed-loop" process can we achieve the best results for our clients."
 

With Bruno Frey, a personality with many years of experience in the media industry is joining Tele 1. Frey is very well connected in the region, according to a press release. He previously held various marketing and sales positions at Radio Sunshine - most recently as Head of Marketing. Bruno Frey will take over some of the key customers in customer care. At the same time, he will support the team as Deputy Marketing and Sales Manager in the development of the department. In the coming months, there are plans to expand the "commissioned productions" area, which is becoming increasingly important for Central Swiss Television. In the recent past, the company has been able to realize numerous production orders for well-known companies and make a name for itself in this area.

Bruno Frey joins the marketing and sales team at Zentralschweizer Fernsehen.

The deal announced Friday amounts to a rejection of Federer's agency and his manager Tony Godsick (Team 8), the Sunday newspaper said in its current edition. Both had offered a hand for cooperation until the very end. The tennis star's willingness to commit to the tournament in Basel in the long term was always there. Since Federer even expressed a possible interest in buying the tournament in 2010, the relationship between Brennwald and his undisputed crowd favorite has soured. Brennwald is said to have perceived the statement as a threat to his life's work. Since 2013, Federer has even been competing without a contract, commitments or inaugural gift and enrolls like all other players - for the sake of the public, as he repeatedly emphasizes. According to the latest developments, this is unlikely to change. Federer, in fact, sees "no reason to seek talks" about a new contract, according to Sonntagszeitung. "It is what it is."

The sports marketing agency Infront Ringier was primarily tasked with finding a new title sponsor or other financially strong partners. Since Davidoff was forced to pull out under public pressure in 2010 due to activities in the tobacco industry, the financial situation of the tournament has been going downhill. In 2014, Federer's sponsor Rolex also pulled out despite a continuing contract. 

On Friday, Ringier CEO Marc Walder and Chairman of the Board Michael Ringier still emphasized the importance of a good understanding with Federer in the search for new partners. Walder wanted to personally seek the conversation. However, the extent of Federer's willingness for future negotiations is still up in the air. (hae/SoZ)

Image: Keystone

Engeler, one of the country's best-known journalists thanks to numerous investigative stories, now confirms to the NZZ am Sonntag the break with Weltwoche already expressed in the industry journal Schweizer Journalist. After his retirement, Engler continued to write for the weekly newspaper and advised his younger colleagues. That is now over. The reason: Weltwoche had lied to its readers in the Geri Müller case. According to Engeler, this robbed the paper of its credibility.

Weltwoche had falsely claimed that it had not made the nude selfie affair public for reasons of personal privacy. The deputy editor-in-chief Philipp Gut is said to have contacted Müller by e-mail the afternoon before the editorial deadline with a request for a statement on sexual images taken in official premises. Weltwoche is of the opinion that the public has a right to know "what goes on in official offices. Müller's lawyer responded with a warning referring to the protection of personality and the lack of evidence. Gut did not let go of the story, but contacted Müller's chat partner with the request to give him her cell phone. The cell phone would have noticeably improved the evidence compared to the existing screenshots. When the chat partner refused, Weltwoche dropped the story for the time being.

When Schweiz am Sonntag published the story five days later, Weltwoche did a 180-degree turn: Gut and editor-in-chief Köppel henceforth defended Müller's privacy and denied the public a legitimate interest in "consensual sex dialogue between reasonable adults." The chat partner and former informant was described as mentally ill and, in Engeler's eyes, burned up and publicly exposed.

Dominque von Burg, president of the Press Council, tells the NZZ am Sonntag that such behavior is "incompatible with the protection of whistleblowers. Editor-in-chief Roger Köppel would not comment on "internal matters." (hae/NZZaS)
 

The new fall campaign of the Grand Casino Kursaal Bern is based on the saying "bad luck in love, good luck in gambling". After all, where better to enjoy the single life than on your own island on the other side of the world? Or where better to wave to your ex than from a brand new BMW? After a visit to the Grand Casino Bern, anything is definitely possible. Republica has therefore developed a campaign with statements that draw attention to precisely this fact. The pithy slogans can now be seen and heard on posters, advertisements, a radio spot and on Passenger TV in the greater Bern/Biel area.

Responsible at Republica: Chris Morgan, Mike Krüll (creative direction), Tugba Kirac (art direction), Corinne Hert (senior consulting), Raffael Futterlieb (junior copywriter), Bala Trachsel (overall responsibility). Responsible at Grand Casino Kursaal Bern: Patrick Cupelin (Marketing Manager), Nadia Probst (Communications).
 

It was a mistake to let the strong brand disappear in 1996 in the course of the merger with the Aargauer Tagblatt to form the Aargauer Zeitung, publisher Peter Wanner told Schweiz am Sonntag. At that time, with the uniform AZ brand, a voice was established for the entire canton, which was a qualitative success. However, the people of Baden do not identify with the Aargauer Zeitung. In Ostaargau, people identify more with the region than with the canton. Accordingly, Wanner is convinced that Badeners are better addressed with "Badener Tagblatt" than with "Aargauer Zeitung. In addition, the publisher believes that he can also score better with the many newcomers from Zurich with the Baden brand than with the rather negative "AG".

The newly launched Badener Tagblatt will take over national, international and cantonal reporting from the AZ Nordwestschweiz newspaper group. Its own accents will be placed on the front page and in the expanded regional section. Own columnists and illustrations will complement the content. In addition, Zurich will be given more weight and the cantonal capital Aarau will take up less space. The strengthened regional department headed by Martin Rumpf will be responsible for the content of the Badener Tagblatt, which will be delivered to subscribers of the AZ Aargauer Zeitung from October 31.

The launch of paid daily newspapers is a rarity in today's media landscape. According to Schweiz am Sonntag, 30 newspaper titles have disappeared in the last 30 years alone; since the 1950s, the number of titles in this country has halved. New newspapers emerged only on Sunday. (hae/SaS)

Image: Keystone