It surely hasn’t escaped your notice: I adore Roger Schawinski. For his unshakable overconfidence, his stoic disregard for justified criticism, his unscrupulous «journalism,» his perpetually sun-kissed complexion, his jet-black hair, and his gap in his teeth. What’s more, he invented radio—probably not just in Switzerland, but all over the world. As a savvy reader, it will also not have escaped your notice that a hint of irony runs through these lines. Despite all the jibes: it’s admirable when someone always sticks to their guns, undeterred by all hostility and, if necessary, even straight through (or right up against) a wall.

Stämpfli is stamping

Schawinski is also taking a clear stance these days in the «Regula Stämpfli» case. The Bern-based political scientist was invited to appear on the media personality’s talk show, but she didn’t like the way the program was advertised—namely, as follows: «She drives some people up the wall, while others are thrilled by her. The Bern-based political scientist Regula Stämpfli is extremely polarizing and seems to be having a lot of fun with it.» These lines made Stämpfli hit the brakes—and cancel her appearance on the show. On Facebook, she wrote: «I’m not going to subject myself to a public, tabloid-style execution à la Kafka’s *The Trial*. I’m not that stupid.»

Maybe so. After all, Stämpfli—who’s no stranger to snide remarks—could have faced the expected «execution» head-on and turned it around. Because when you know what’s coming, success is simply a matter of good preparation. But the political scientist probably didn’t feel up to this battle. Or did Stämpfli think she could get one over on Schawinski with her last-minute cancellation? Instead, the political shrew shot herself in the foot. 1–0 for Schawi—without him even having to lift a finger.

«Schawinski has a problem with women who are on equal footing with him,» Stämpfli said of the confrontation. That may well be true. But Stämpfli is anything but on equal footing with Schawi. Otherwise, she would have had the confidence to take on the tanned talk show host—and perhaps even enjoyed it a little—just as Roger Köppel does on the Monday radio debate «Roger vs. Roger»: dishing it out, taking it, and entertaining the audience. That’s really what it’s all about. «Execution»—come on, Ms. Stämpfli, who’s going to take themselves that seriously?

Problem with Bitches

And while the brown-haired woman bites at everything around her like a Pinscher gone wild, Schawi quietly reaches for the club and strikes: After a furious email exchange with Stämpfli, Schawinski kicked the rebellious woman out of his Radio 1 show—where she had previously been in charge of a column—without a second thought. 2-0 for Schawi. The only proper response, if you ask me. And almost everyone who’s heard about it shares that view. That’s clear from various online comments. Stämpfli disqualified herself with her reaction. Sure, it was a bit underhanded that the *Blick* knew about her firing before Stämpfli did. But that just ties everything together.

What’s going on with this Schawinski? Who invites their own columnist onto their talk show? Who plans to tear her apart during the interview, as Stämpfli surely and rightly feared? Who ultimately fires the employee in question because she refuses to play along with this little game? The answer to all these questions is: Roger Schawinski. No one else is so beyond reproach. No one else is such a consummate showman. And no one else would be watched so calmly while acting this way. That’s just Schawi for you. It’s impossible to say who might one day replace this media despot. Schawi is one of a kind. Schawi is irreplaceable. So let’s enjoy him while he’s here. Sorry, Ms. Stämpfli.

 
 

This is how the fragrance is to be experienced on the net. A pan-European blogger campaign carried the Bouquet Creator and the fragrance into the digital lifestyle world, the agency said in a statement Thursday. "The Bouquet Creator is a unique and interactive idea to share olfactory sensory impressions via the Internet," said Katrien Verhassel, International E-Commerce Division Manager Fragrances at Victorinox Swiss Army.

A virtual flower meadow on a mircosite is the starting point for the distribution of the new women's perfume Victoria by Victorinox. More than 30 flower varieties thrive in the Victoria meadow, which can be picked and combined and assorted according to taste. Once the user has put together his individual bouquet, he embellishes it with a matching bow and adds a background image. He then adds a personal message to the finished bouquet and sends it to friends or family as an eCard or printed postcard with a scent sample.

The created bouquets will be displayed in a gallery and can be liked there. The creations with the most votes have the chance to win the campaign competition. Social shares are triggered via this mechanism, which should ensure a natural spread of the campaign. The Victoria Flower Meadow can be reached at Victoria.victorinox.com.

The microsite is the basis for the global launch of Victoria. It is available in five languages and can be adapted according to distributor and country. The same idea was used to roll out the communication: Centrally controlled from Switzerland, the blogospheres of the European target markets were activated via the Box Network Europe and the right opinion leaders were approached via the network's locally networked agencies. These carried the digital buzz around the new fragrance out into the blogosphere. The blog articles are intended to ensure the product's credible and long-term findability on the web.

Responsible at Victorinox Swiss Army Fragrance: Andreas Baud (International Marketing Director Fragrances), Katrien Verhassel (International ECommerce Division Manager Fragrance), Ursula Blättler (Marketing Assistant). Responsible at Coundco: Florian Wieser (Strategy), Garry Bachmann (Technical Project Management), Tobias Stahel (Campaign Project Management), Léonie de Montmollin (Blogger Relations, Project Assistance), Marie-Sophie Pascher (Art Direction), Jaromir Fuoli (Art Direction), Pascal Howald (Social Engineering), Theo Gutmann (Web Development), Philipp Moser (Web Development)

Involved agencies:
Coundco (Switzerland), Patchwork (Sweden), Frank PR (United Kingdom), Cgo and Co (France), WAAITT (Denmark), Hagakure (Italy), Tinkle (Spain & Portugal), Ambuzzador (Austria), Panorama 3000 (Germany), FRTSS (The Netherlands).

 

As a Swiss advertiser, graphic designer and citizen, it is my duty to comment on the unimaginative advertising campaign of our German Swiss airline. This is about a long-standing advertising tradition that the current owner neither feels nor strives for. The fact that Swissair has become Swiss for legal reasons is not taken into account here. It seems interesting to me, however, that the advertising for this exemplary airline has degenerated from what was once the best and most awarded advertising into an unimaginative, bland, superficial and certainly not fresh and creative appearance. The success of our airline has a lot to do with the CI, the service and not least the unusual communication. The failure back then was once again due to the megalomania of incompetent managers. This is now history. However, the new bosses in charge should not forget what made this Swiss cross so successful. Unusual, original, entertaining and surprising advertising messages.

My theory is that successful companies that are swallowed up by larger companies usually focus on math, profits, cash flow, substance and business synergies. The soul of the companies and their products are forgotten. A big mistake. Because those who consume the product, i.e. the customers, are only interested in the psychological preference, i.e. the soul of the product. For example: Bally has now disappeared from the luxury market because the new owners did not feel the soul of Bally for precisely this reason, and even ignored it.

Back to my Swiss-Motz example and back to the advertising history of Swissair. From the very beginning, there was advertising that was creative and of a high artistic standard. The advertising that GGK created for Swissair over decades also made advertising creative award history. My personal contribution to the Swissair campaigns was the omission of typography to create a Swiss cross. Or do you remember the Publicis campaign by Denecke, where the Swiss airmen proudly displayed their flight tickets? An ADC gold award-winning advertising campaign. And what do we have to put up with today! Photographs on posters and advertisements that look like a hospital ambience without any idea. Communication that is unfit for air travel. And this is supposed to be our airline? The Germans probably have euros rather than crosses in front of their eyes. A bitter pity. In addition, the redesign of the Swiss logo is a disaster, including its implementation. In Miami, I was still greeted with Tyler Brûlé's squares on the screen. My golf bag cover also looks the same.

My teary-eyed constellation is that Turkish Airlines is running super good commercials. Where have we ended up?

The Swiss advertising campaign is the low point of a successful and innovative advertising culture history.

Theophil Butz, graphic designer, advertising agency owner, inspirer and, for over a year and a half, also a mocker for Werbewoche readers. Please send any relevant information to [email protected].
 

Marco Bernasconi, Director (l.), and Jürg Weber, Chairman of the Board of Directors of WEMF AG für Werbemedienforschung.

WW: The TV industry has been without usage data for almost six months. How would you describe this situation? 
Marco Bernasconi: If the same thing were to happen to us, it would be a disaster for us. Jürg Weber: You could call it a catastrophe. Because the clients who rely on the data are faced with a black box. That is dramatic.

The print industry is also facing a new survey methodology (see box ). Iss such a catastrophe also possible?

Bernasconi: Not to the same extent. In contrast to Mediapulse, we have various advantages: We started our preparations three years ago. And we carried out a 1:1 test in economic areas 43 (ZH) and 12 (VD), which showed how the new methodology affects the results. The interim results now point in exactly the same direction. We were able to communicate this to all committees. As nothing inexplicable emerged, we know that the method is valid. Another advantage: our field study has been completed since the end of April and all the data is "in the box". What's more, our research committee, which consists of scientists and market researchers, accompanied the entire process from the beginning and checked every step. Nevertheless, we won't be popping the champagne until September 18.
There are basically two possible problem areas: Firstly, something can go wrong with the methodology, and secondly, you never know how the market will react. Firstly, we have the methodology under control. But you never know whether a customer will be dissatisfied with the data and take legal action.

You therefore do not rule out a super-provisional injunction against the release of the data.
Weaver: No. But if someone cannot comprehend a result, it is probably one of their own titles. He would therefore probably demand that it not be published. So there would hardly be a total blockade.

Until now, publishers did not have to wait for the semi-annual publication of MACH Basic: they were also able to obtain the quarterly interim results and were therefore always up to date with the readership trends of their titles. What is the situation now before MACH3: do publishers already know the interim results?
Bernasconi: Yes, most publishers know their group values, but only on the basis of the six-month and nine-month values. The values of the individual titles are being systematically communicated these days. Always with the reservation that something may still change.
This advance information is an important difference to Mediapulse.
It is actually very important. I could not have imagined that we would publish data without informing customers in advance. The matter is too complex for that.

Were there any publishers who did not agree with your interim results?
Weaver: Yes, but unlike the TV industry, our counterpart usually owns several titles. This is an advantage because the new survey then has different effects in the same publishing house depending on the title and circumstances. This means that the influences of the changed parameters can usually be explained quite well. I'll give just one example here: Because the interviewees now also see the title logos during the interviews, there is less risk of confusion. Of course, some titles suffer from this.

Is the assumption correct that primarily publishers of small-circulation and regional titles will have more trouble accepting the new figures?
Bernasconi: No, that's wrong.

Weaver: My impression is that the regional and local titles remain fairly stable. The typologies also remain fairly stable. However, there are individual titles where various factors play a role, in particular the reduced potential for confusion.
Some titles that used to have relatively many readers per copy now have fewer. So the currency is getting harder.

Nevertheless, the new method also contains explosive material: the number of interviews was reduced from 23,500 to 19,000 (-20%). This reduces the number of cases, particularly for small-circulation and regional titles.
Bernasconi: That is correct. We had to reduce the number of interviews for cost reasons. However, we have taken precautions by combining several survey periods for smaller titles and introducing a rolling process on the one hand and, on the other, by slightly disproportionately distributing the sample across the survey area. This will make the results more stable. And with 19,000 interviews, we are still outstanding in an international comparison.

Another point: thanks to the new recruitment method, around 20 percent of the population that could previously no longer be reached can be contacted again. This means that the universe once again corresponds to 100 percent of the population. At the same time, however, the number of interviews has been reduced by 20 percent. Together, these two factors mean that each interview now represents significantly more people and therefore each response has a greater impact on the results than before.
Bernasconi: The sample base was expanded to include target groups not previously reached, that is correct. This makes the survey even more representative than before. However, the universe has not increased - apart from the normal population growth. Due to the smaller sample size, however, the number of people for whom an interview represents is naturally larger (previously approx. 270, now approx. 330) and thus also the influence of the individual interview. But as I said, we are also doing very well internationally with this ratio.

So you have already been able to inform a large number of publishers about the interim results. Is no fundamental opposition to be expected from any of them?
Weaver: Anyone seeing the figures for the first time will naturally have questions. However, if you point out the changed parameters that can lead to a different result overall, acceptance usually increases.

You say as a rule. Are there exceptions?
Weaver: In some cases, we just had to have two or three conversations (laughs). That's understandable. After all, it is difficult to sell a security that has a lower index value than before.
During the interviews, we demonstrate how transparent our method is: the questionnaire can be viewed and we have inspectors who listen to the interviews at the market research institutes unannounced. In addition, every step of the process can be traced back. We also work with two different market research institutes. If the two institutes produce completely different results for one and the same title, the cause is investigated.

And how are you preparing for September 18?
Bernasconi: We have commissioned an international expert who is currently reviewing the entire methodology. She will be speaking at the Media Research Day on September 18.

Was this planned anyway - or is it a lesson from the TV debacle?
Bernasconi: It is a lesson. Because in itself, the Research Commission, which really does accompany us very consistently, would be enough for us.

Did you learn any other lessons from the Mediapulse situation?
Bernasconi: We attached great importance to communication right from the start - but even before that. This is greatly appreciated by our customers. But the problems with the TV panel confirmed to us how important communication is in such a process. And the fact that direct, early customer contact is necessary is certainly also a learning from Mediapulse. That's why we are still expanding communication: Publishers receive a Q&A (questions & answers) from us as well as other support material - this as an argumentation aid for the Marketing&Sales departments vis-à-vis the media and advertising agencies.

Mr. Weber, does it help with communication that you, as publisher of the Neue Luzerner Zeitung, are at the top of the WEMF and can say: I also have several titles, one of which wins and the other loses.
Weaver: Of course, it is an advantage if you can argue on the basis of experience in your own portfolio. But I am not the only publisher on the WEMF Board of Directors.
Bernasconi: There are also people on the User Commission and the Research Commission who have been delegated there from the publishers. All of these people are now on the runway and communicate within their publishing house, but of course also within the industry.
Weaver: In addition, we opened up the Board of Directors and the User Commission to the client side around three years ago. This also increased the credibility of communication.

Speaking of publishers and media research: In the TV industry, it was primarily the publishers' TV channels that turned their backs on Mediapulse - including your Tele 1, Mr. Weber. Does this mean that MACH3 must also expect resistance from publishers?
Weaver: I think it's completely legitimate for publishers to be critical of figures that they can't understand. It really was a problem that the TV channels were faced with a fait accompli from one day to the next. False expectations were certainly created beforehand. But a 1:1 test would have been better - that would probably have defused the situation.

But it's a tricky situation for you: you are the Chairman of the Board of Directors of a regional TV station that opposes the new TV research, and at the same time you are trying to make a new research method palatable to the print industry.
Weaver: To be fair, I have to say that I'm staying out of the TV research problem. I leave that to the operational people at Tele 1 and Telesuisse, the regional TV association. But what happened at Mediapulse was fundamentally different from what will happen here.

Does the conflict surrounding TV research also affect the image of other media research, such as that of the WEMF?
Bernasconi: We fear that this will - to a certain extent - rub off on other industry research organizations. However, WEMF has a very solid and trustworthy image of quality. Publishers and the advertising industry know that we are independent and neutral and that our methods meet global standards. However, we have had to step up our communication efforts as a result of these incidents and, above all, emphasize the aspect of transparency that is customary for the WEMF.

Let's summarize: The most important asset of media research is trust. How do you establish this?
Weaver: By providing reliable data for years in advance. It also requires good preparation and good communication - and that you back yourself up with a research commission and expert reports.
Bernasconi: Continuity is important, but trust is also built on people: In Harald Amschler, we have a Head of Research who enjoys an extremely good international reputation. And then, once again, it comes down to communication: We communicated at an early stage, provided outlooks and continually showed where we stood in the development process. Such transparency creates trust.

Interview: Markus Knöpfli

 

The downward trend began several years ago and continued in the first half of 2013. Editor-in-chief Diego Yanez is not allowed to give current figures. Because of the legal dispute over the Mediapulse figures, publication of the current audience ratings has been prohibited again since Wednesday evening (Werbewoche.ch reported). But he recognizes a "certain arbitrariness" at "Rundschau" that has probably cost viewers. "The topics are too broadly mixed, the program has lost profile," he told the media on Thursday. Thanks to a new concept, more viewers are expected to tune in again starting August 21.

No more "hot seat

The most striking innovation will be the new decor. There is no longer any room for the "hot seat" on which guests were previously put through the wringer. In the future, the interview partners will stand at a counter so that they can meet the presenters Sandro Brotz and Susanne Wille at eye level. In terms of content, the "Rundschau" wants to focus more on domestic topics and engage in "uncomfortable investigative journalism". One example of this is the reporting on SVP National Councilor Christoph Mörgeli and his work as a "doctoral advisor." (SDA)
 

Marco Bernasconi, Director (l.), and Jürg Weber, Chairman of the Board of Directors of WEMF AG für Werbemedienforschung.

WW: The TV industry has been without usage data for almost six months. How would you describe this situation? 
Marco Bernasconi: If the same thing were to happen to us, it would be a super-GAU for us.
Jürg Weber: You could call it a disaster. Because the clients who rely on the data are faced with a black box. That is dramatic.

The print industry is also facing a new survey methodology (see box ). Iss such a catastrophe also possible?

Bernasconi: Not to the same extent. In contrast to Mediapulse, we have various advantages: We started our preparations three years ago. And we carried out a 1:1 test in economic areas 43 (ZH) and 12 (VD), which showed how the new methodology affects the results. The interim results now point in exactly the same direction. We were able to communicate this to all committees. As nothing inexplicable emerged, we know that the method is valid. Another advantage: our field study has been completed since the end of April and all the data is "in the box". What's more, our research committee, which consists of scientists and market researchers, accompanied the entire process from the beginning and checked every step. Nevertheless, we won't be popping the champagne until September 18.
There are basically two possible problem areas: Firstly, something can go wrong with the methodology, and secondly, you never know how the market will react. Firstly, we have the methodology under control. But you never know whether a customer will be dissatisfied with the data and take legal action.

You therefore do not rule out a super-provisional injunction against the release of the data.
Weaver: No. But if someone cannot comprehend a result, it is probably one of their own titles. He would therefore probably demand that it not be published. So there would hardly be a total blockade.

Until now, publishers did not have to wait for the semi-annual publication of MACH Basic: they were also able to obtain the quarterly interim results and were therefore always up to date with the readership trends of their titles. What is the situation now before MACH3: do publishers already know the interim results?
Bernasconi: Yes, most publishers know their group values, but only on the basis of the six-month and nine-month values. The values of the individual titles are being systematically communicated these days. Always with the reservation that something may still change.
This advance information is an important difference to Mediapulse.
It is actually very important. I could not have imagined that we would publish data without informing customers in advance. The matter is too complex for that.

Were there any publishers who did not agree with your interim results?
Weaver: Yes, but unlike the TV industry, our counterpart usually owns several titles. This is an advantage because the new survey then has different effects in the same publishing house depending on the title and circumstances. This means that the influences of the changed parameters can usually be explained quite well. I'll give just one example here: Because the interviewees now also see the title logos during the interviews, there is less risk of confusion. Of course, some titles suffer from this.

Is the assumption correct that primarily publishers of small-circulation and regional titles will have more trouble accepting the new figures?
Bernasconi: No, that's wrong.
My impression is that the regional and local titles remain fairly stable. The typologies also remain fairly stable. However, there are individual titles where various factors play a role, in particular the reduced potential for confusion.
Some titles that used to have relatively many readers per copy now have fewer. So the currency is getting harder.

Nevertheless, the new method also contains explosive material: the number of interviews was reduced from 23,500 to 19,000 (-20%). This reduces the number of cases, particularly for small-circulation and regional titles.
Bernasconi: That is correct. We had to reduce the number of interviews for cost reasons. However, we have taken precautions by combining several survey periods for smaller titles and introducing a rolling process on the one hand and, on the other, by slightly disproportionately distributing the sample across the survey area. This will make the results more stable. And with 19,000 interviews, we are still outstanding in an international comparison.

Another point: thanks to the new recruitment method, around 20 percent of the population that could previously no longer be reached can be contacted again. This means that the universe once again corresponds to 100 percent of the population. At the same time, however, the number of interviews has been reduced by 20 percent. Together, these two factors mean that each interview now represents significantly more people and therefore each response has a greater impact on the results than before.
Bernasconi: The sample base was expanded to include target groups not previously reached, that is correct. This makes the survey even more representative than before. However, the universe has not increased - apart from the normal population growth. Due to the smaller sample size, however, the number of people for whom an interview represents is naturally larger (previously approx. 270, now approx. 330) and thus also the influence of the individual interview. But as I said, we are also doing very well internationally with this ratio.

So you have already been able to inform a large number of publishers about the interim results. Is no fundamental opposition to be expected from any of them?
Weaver: Anyone seeing the figures for the first time will naturally have questions. However, if you point out the changed parameters that can lead to a different result overall, acceptance usually increases.

You say as a rule. Are there exceptions?
Weaver: In some cases, we just had to have two or three conversations (laughs). That's understandable. After all, it is difficult to sell a security that has a lower index value than before.
During the interviews, we demonstrate how transparent our method is: the questionnaire can be viewed and we have inspectors who listen to the interviews at the market research institutes unannounced. In addition, every step of the process can be traced back. We also work with two different market research institutes. If the two institutes produce completely different results for one and the same title, the cause is investigated.

And how are you preparing for September 18?
Bernasconi: We have commissioned an international expert who is currently reviewing the entire methodology. She will be speaking at the Media Research Day on September 18.

Was this planned anyway - or is it a lesson from the TV debacle?
Bernasconi: It is a lesson. Because in itself, the Research Commission, which really does accompany us very consistently, would be enough for us.

Did you learn any other lessons from the Mediapulse situation?
Bernasconi: We attached great importance to communication right from the start - but even before that. This is greatly appreciated by our customers. But the problems with the TV panel confirmed to us how important communication is in such a process. And the fact that direct, early customer contact is necessary is certainly also a learning from Mediapulse. That's why we are still expanding communication: Publishers receive a Q&A (questions & answers) from us as well as other support material - this as an argumentation aid for the Marketing&Sales departments vis-à-vis the media and advertising agencies.

Mr. Weber, does it help with communication that you, as publisher of the Neue Luzerner Zeitung, are at the top of the WEMF and can say: I also have several titles, one of which wins and the other loses.
Weaver: Of course, it is an advantage if you can argue on the basis of experience in your own portfolio. But I am not the only publisher on the WEMF Board of Directors.
Bernasconi: There are also people on the User Commission and the Research Commission who have been delegated there from the publishers. All of these people are now on the runway and communicate within their publishing house, but of course also within the industry.
Weaver: In addition, we opened up the Board of Directors and the User Commission to the client side around three years ago. This also increased the credibility of communication.

Speaking of publishers and media research: In the TV industry, it was primarily the publishers' TV channels that turned their backs on Mediapulse - including your Tele 1, Mr. Weber. Does this mean that MACH3 must also expect resistance from publishers?
Weaver: I think it's completely legitimate for publishers to be critical of figures that they can't understand. It really was a problem that the TV channels were faced with a fait accompli from one day to the next. False expectations were certainly created beforehand. But a 1:1 test would have been better - that would probably have defused the situation.

But it's a tricky situation for you: you are the Chairman of the Board of Directors of a regional TV station that opposes the new TV research, and at the same time you are trying to make a new research method palatable to the print industry.
Weaver: To be fair, I have to say that I'm staying out of the TV research problem. I leave that to the operational people at Tele 1 and Telesuisse, the regional TV association. But what happened at Mediapulse was fundamentally different from what will happen here.

Does the conflict surrounding TV research also affect the image of other media research, such as that of the WEMF?
Bernasconi: We fear that this will - to a certain extent - rub off on other industry research organizations. However, WEMF has a very solid and trustworthy image of quality. Publishers and the advertising industry know that we are independent and neutral and that our methods meet global standards. However, we have had to step up our communication efforts as a result of these incidents and, above all, emphasize the aspect of transparency that is customary for the WEMF.

Let's summarize: The most important asset of media research is trust. How do you establish this?
Weaver: By providing reliable data for years in advance. It also requires good preparation and good communication - and that you back yourself up with a research commission and expert reports.
Bernasconi: Continuity is important, but trust is also built on people: In Harald Amschler, we have a Head of Research who enjoys an extremely good international reputation. And then, once again, it comes down to communication: We communicated at an early stage, provided outlooks and continually showed where we stood in the development process. Such transparency creates trust.

Interview: Markus Knöpfli

Mach3: The six most important changes
 

• Now 19,000 people are surveyed annually throughout Switzerland (previously 23,500).
• The survey now asks not only about the use of print titles, but also about the associated websites.
• To ensure that those 20 percent of the population who are not listed in the telephone directory can also be contacted for an interview, a software program now generates the telephone numbers at random (random digit dailing). This means that those 5 percent who can only be reached by cell phone can also be contacted.
• Now 40 percent of survey participants are interviewed online, 60 percent continue to be interviewed by telephone. (The proportion of telephone interviews is higher due to people who do not use the internet).
• Anyone taking part in a telephone interview will now receive a folder with the title and website logos by post beforehand. For online surveys, these visual aids are integrated into the online questionnaire.
• The LpA value (readers per issue) is renamed cRR (calculated recent Readership). In fact, however, nothing has changed. The reasons for the renaming: the whole of Switzerland now has a standardized term. It is also intended to symbolize that the new figures cannot be compared with the old ones.

 
 

 

In terms of awareness, the ad for Swiss by advertising agency Publicis came out on top, followed by the SBB ad by advertising agency Rod and the Ricola ad by advertising agency Kreisvier. The Love-Life subject from the Havas Worldwide Zurich agency won the Uniqueness criterion ahead of the ad for rapeseed oil from the Wapico advertising agency and the ad for Ricola. In the Brand Fit criterion, Swiss won ahead of the ad for Ramseier by the Planet Lucerne advertising agency and the SBB subject. The Ikea ad by Wirz came out on top in terms of likeability, ahead of the Love-Life ad and the SBB ad.

The impact check of Werbewoche June 2013 (PDF)
Results_Report_Advertising_Week_Impact_Check_June_2013.pdf    

The agency realized the news article on behalf of BLT. Power News is the BLT magazine on energy efficiency, published as a newspaper supplement. At the same time, the magazine serves as a preview for the BLT Power-Day, the open day on June 22, 2013 with the main topic energy efficiency and other attractions. CR Basel was also responsible for posters for this day, vehicle lettering and a competition on Facebook.

Responsible at BLT Baselland Transport: Reto Meister (Head of Marketing and Sales), René Lustenberger (Secretary General), Stephan Brode (Project Manager Marketing and Sales). Responsible at CR Basel: Gabriel Heuberger (CD), Roger Horvath (AD/Illustration), Ruedi Rominger (DTP), Philipp Schweizer, Sonja Niemeyer (Text), Thomas Fux, Roger Müller, Vanessa Eck (Consulting).

 

The passion of Carsten Cramer, Head of Marketing at Champions League finalist Borussia Dortmund, was omnipresent. The claim "Echte Liebe" (real love) is lived in all areas of the soccer club, for Cramer the reason for having one of the largest and most loyal followings in the world. The club differentiates itself in an exemplary way through emotion and passion and consciously invests in this brand identity. "We rely on permanent employees who live for the club, from the club management to the hostesses. We don't have temporary workers who don't embody passion and are fans of Borussia Dortmund," says Cramer. Carsten Cramer likes to downplay his own work - among other things, Borussia Dortmund won the 2013 Sports Marketing Award: "I jumped on a moving train, this love existed before me too".

Erich Kienle, CEO of Innoprax, presented the recipe for success of his new product "Caffè Lattesso" and followed on from Carsten Cramer's presentation. Only those who possess absolute quality and confidence in the product, coupled with a passion for detail, can achieve long-term success. The former Head of Marketing at Emmi presented product innovations such as the innovative drinking cap, which makes drinking "to-go" even easier. Such details ultimately make the difference for the customer.

The ten specialist forums in the morning offered congress participants a wide variety of topics ranging from "Social Media" to "Strategic Brand Management". In the forum "Using the Swiss brand as an SME", Michiel De Ruiter, Managing Director of Hochdorf Nutricare, outlined the company's success in China. Concentrating on carefully selected B2B partners, specializing in a core product, and winning and confirming consumer trust through Swissness in a country unsettled by food scandals are the core elements of success, according to De Ruiter.

Impressions from the fourth Swiss Brand Congress

Photos of the event can be found in the current Werbewoche 13/2013 from June 21, 2013.

Next year's Swiss Brand Congress will take place on June 5, 2014 at The Dolder Grand Hotel, Zurich.
 

Exposed places not only appeal to environmental organizations such as Greenpeace, but also to advertisers time and again. What is part of Time Square in New York does not always go down well with the authorities in Switzerland: advertising in public spaces. Some don't care, they may even be attracted by the forbidden, others at least want to know what is allowed and what is not and what the consequences of breaking the rules are.

In principle, advertising is constitutionally protected by economic freedom, freedom of opinion and freedom of information. It may be restricted by law if there is a public interest in doing so. In the case of advertising in public spaces, these are above all road safety and the protection of landscapes and townscapes.

Regulations concerning road safety are national. The Road Traffic Act prohibits, among other things, advertising that impairs road safety by distracting road users. For advertising in the area of freeways and motorways, more detailed regulations can be found in the Signalization Ordinance. Advertising is generally not permitted in the immediate vicinity of signalization and in the area of freeways and motorways. However, company addresses are permitted in the vicinity of freeways and roads. However, these may only include the name of the company and any logo.

The regulations on the protection of landscapes and townscapes can be found in cantonal and municipal laws and ordinances, i.e. these can vary from canton to canton and from municipality to municipality, which can complicate matters, particularly for national campaigns. For example, both the canton and the city of Zurich declare that advertising in public spaces generally requires a permit. In the city of Zurich, advertising in public spaces must be designed in such a way that it fits into the overall context, whereby the location of the advertising is important. Advertising in historic centers is to be judged differently than advertising in outer or industrial districts. Advertising that discriminates against people on the basis of their origin, race and gender, among other things, and that refers in any way to alcohol or tobacco products or shows their names or logos is explicitly prohibited, whereby this also applies to sponsor imprints if these evoke direct product associations. Beer advertising in restaurants is an exception. The City of Zurich has its own megaposter concept for so-called megaposters. However, megaposters with political content are generally not permitted. The projection of advertising on or above public property is also not permitted. Illuminated advertising is also not permitted in the core zone of the old town. The spatial dimension of advertising in public spaces is also regulated in detail.

A permit for advertising in public spaces is always issued by the competent cantonal or municipal authority. For the city of Zurich, for example, this is the city police. They also monitor advertising in public spaces. And what happens if you don't obtain a permit? Then there can be a crash with roadside advertising. A breach of the regulations on advertising in public spaces generally leads to a fine.

Ueli Grüter