Page 1

ADVERTISING RATES 2012


Masthead PUBLISHER

ONLINE

Michael Kaune

strategy & development Malte Sudendorf ms@kaune-sudendorf.de

ADVERTISING DIRECTOR Miriam Tonner tonner@qvest.de Fon +49 221 952 749 32

design & production Philip Spohr ps@kaune-sudendorf.de

ADVERTISING DEPARTMENT QVEST Zeughausstrasse 13 50667 Kรถln Fon +49 221 952 749 0 Fax +49 221 952 749 99 advertising@qvest.de

BANK ACCOUNT Kaune, Sudendorf Publishing Kรถlner Bank eG BLZ 371.600.87 Konto 931.253.000 Swift/Bic: GENODED1CGN IBAN: DE59 3716 0087 0931 2530 00

ADVERTISING OFFICES FRANCE Publicitas SAS Marisol Babe Lopez Fon: +33 1 53 64 88 77 marisol.babelopez@publicitas.com

TERMS OF PAYMENT

ITALY Publicitas International S.p.A. Marzia Solinas Fon + 39 02 55 19 43 85 marzia.solinas@publicitas.com

COMPANY INFORMATION

The invoice amount is due for payment within 5 days. Delayed or deferred payment will be charged with the usual interest rates for overdraft credits.

AG Kร–LN HRB 66515 Ust.-ID.Nr.: DE 258.337.550


Awards 7 x LeadAward Portrait photograph of the year, bronze 3 x Nomination Design Award of the Fed. Rep. of Germany 2 x LeadAward Mood & fashion photography, award 2 x LeadAward Architecture- and still life photography, gold LeadAward Photography of the year, silver LeadAward Reportage picture of the year, bronze LeadAward Illustration of the year, gold LeadAward Cover of the year, gold LeadAward Visual Leader of the year, gold LeadAward Lead magazine of the year, gold ADC Nagel illustration of the year, bronze ADC Nagel Photography of the year, silver


WHAT IS QVEST?

> QVEST QVEST is a German fashion magazine with an international outlook. > QVEST features fashion, design and culture, with expertise and passion. > QVEST works with writers, photographers, stylists and artists in New York, Tel Aviv, Paris, London and Berlin. And anywhere else in the world where something new, exciting and visionary is going on. > QVEST is not about trendspotting; it‘s about portraying people courageous enough to try new things, presenting pictures never seen before and publicising ideas that are fresh, to the point and sometimes a little provocative. > QVEST moves and stimulates brands and markets, providing food for thought and impetus for action. > QVEST uncovers and explains the international avant-garde as it constantly reinvents itself, but always with a critical eye. Our magazine cleverly combines cultivated hedonism with intellectual sophistication. > First published in 2001, QVEST appears every two months, in both German and English. > QVEST invites consumers to spend time browsing and reading, and so guarantees a high multiplication factor of up to five readers


FASHION

DESIGN & INTERIOR

xxx

xxx

close up

xxx

Das Wunder von

INTRECCIATO

Dass heutzutage ein erfolgreiches label offen über seine Produktionsverfahren und seine expertise spricht, ist eher ungewöhnlich. bei bottega veneta hingegen herrscht transparenz. QVeSt wurde ein Atelierbesuch, dem die Fertigung der »Cabat bag« zugrunde liegt, gewährt.

photography romAn goebel, styling & production cHriSToF poST, m odel HAnne b @ m egam odelagency, hair & m ake-up TroY dAbSKi, photography assistent vicTor

text

konstantin spaCHis

Der höhepunkt in lauren huttons Filmkarriere geht auf das Jahr 1980 zurück – zumindest in modischer hinsicht. Gehüllt in einen kunstvoll geschlungenen trenchcoat und mit einer knallroten Bottega Veneta-Clutch versehen, wird sie als senatorengattin michelle stratton vom charismatischen Gigolo Julian Kaye verführt. eindrucksvoll verkörpert von richard Gere im us-thriller »american Gigolo«, der prompt zum Kassenschlager wurde und zudem maßgeblichen einfluss auf den modestil der Folgejahre nahm. Das Debüt des italienischen labels auf der großen leinwand in hollywood war keine – wie man vielleicht vermuten mag – geschickte pr-strategie, sondern tatsächlich reiner zufall. Denn ein label wie Bottega Veneta, das sich höchster Diskretion und minutiöser handwerkskunst verschrieben hat, lehnt teures product placement sowie die ausstattung von Celebrities gänzlich ab. und ist vielleicht gerade deshalb beim internationalen Jetset und der schillernden hollywood-riege stets heiß begehrt gewesen. andy warhol beispielsweise erledigte seine weihnachtseinkäufe in der Bottega Veneta Boutique an der upper east side in new york. Der Künstler drehte in den 80er Jahren sogar einen Kurzfilm über seine lieblingsmarke. weibliche stilikonen wie Jackie Kennedy und elizabeth taylor outeten sich als Fans der intrecciato-signatur; der hauseigenen kunstvollen Flechttechnik von feinstem leder. Der werbeslogan »when your own initials are enough« stand in den 70er Jahren sinnbildlich pate für den lifestyle der hautevolee, der darin bestand, höchsten luxus ganz diskret auszuleben. Jedoch war die Firmenhistorie des 1966 gegründeten unternehmens mit sitz in vicenza, einer Kunst- und industriestadt im norden italiens, nicht immer von Glanz und Gloria umgeben. im Gegenteil: man schrieb die 90er Jahre, jene Dekade, die dem labelfetischismus und der logomanie wie kein anderes Jahrzehnt frönte. Die philosophie von Bottega Veneta entspricht plötzlich nicht mehr dem zeitgeist – man möchte stattdessen

dress jil SAnder

new-rich, laut und exzentrisch aussehen. zudem begünstigt die aufkeimende »Celebrity-Culture« den wunsch nach hemmungsloser selbstinszenierung. also versucht man die marke mit londoner »underground-talenten« wie Giles Deacon oder Katie Grand sowie experimentellem Design zu reanimieren. Der plan misslingt, die markenidentität verwässert. Die unternehmenslage spitzt sich zur Jahrtausendwende schließlich dramatisch zu – bis angeblich kurz vor dem totalen Bankrott der luxuskonzern Gucci Group heute Ppr, eingreift und das label kauft. Damit beginnen endlich die nötigen, wenngleich höchst aufwändigen rekonstruierungsmaßnahmen. im Juni 2001 wird auf empfehlung von tom Ford, damals Chefdesigner des ebenfalls zu Ppr gehörenden hauses Gucci, der Deutsche tomas maier Creative Director und head Designer von Bottega Veneta. nach stationen bei Sonia Rykiel, Hermès und Revillon hatte sich tomas maier mit seinem partner andrew preston nach miami zurückgezogen und lancierte dort seine gleichnamige Bademodenlinie – ein wunschtraum. trotzdem nahm er das angebot von Bottega Veneta an. Der rest ist mittlerweile legende: in gerade einmal zehn Jahren seiner schaffensphase konnte das haus eine umsatzsteigerung von mehr als 1400 prozent erzielen und wurde damit zu einer der profitabelsten modemarken weltweit. maiers philosophie beinhaltet die Kreation von scheinbar einfachen objekten, deren diskrete raffinesse und makellosigkeit den erfindungsreichtum und das Können der handwerker jede saison erneut an ihre Grenzen führt – mithin die hohe und seltene Kunst das schlichte zum absoluten zu erheben. voraussetzung dafür ist die handwerkliche exzellenz, die heute genauso wie damals in den Fertigungsstätten in vicenza passiert. ironie des schicksals, dass die deutsche partnerstadt von vicenza ausgerechnet pforzheim ist – die Geburtsstadt von tomas maier. Glaubt man nicht an die macht des zufalls, konnte es sich also nur eine Frage der zeit sein, bis beide parteien sich finden und gemeinsam anschicken,

den Begriff luxus für das gerade anbrechende millennium grundlegend neu zu definieren. Denn nachdem die gehobene Käuferschicht der gehypten taschenmodelle ›paddington‹, ›saddle‹ und ›Baguette‹ – um nur einige zu nennen – müde geworden war, konnte nun endlich das Konzept vom »getarnten luxus« seine erfolgsgeschichte beginnen. Der inbegriff dieser Devise ist die 2001 lancierte »Cabat Bag«, die einem schlichten, rechteckigen ledershopper ähnelt. Kein üppig dekoriertes Bling-Bling, keine logos, keine unnötigen ornamente, stattdessen: pure italienische handarbeit. zu 100 prozent. Das accessoire genießt mittlerweile rund um den Globus Kultstatus und wird jede saison von tomas maier neu interpretiert. ein einblick in die handwerkliche Komplexität und in dem aufwändigen herstellungsprozess der »Cabat Bag« wurde Qvest bei einem exklusiven atelierbesuch in den lederwerkstätten von Bottega Veneta gewährt. es ist 10.00 uhr morgens. angenehme 28 Grad, sonne. 60 km nordwestlich von venedig entfernt, in einer abgelegenen Gegend in vicenza, befinden sich die manufakturen von Bottega Veneta. von außen unscheinbar, offenbart sich die erwartete Grandezza erst beim Betreten der heiligen hallen. man empfängt uns mit espresso und typisch italienischer Gastfreundschaft. seit über 36 Jahren bei Bottega Veneta tätig, führt uns der technische produktionsleiter stolz durch die verschiedenen ateliers und werkräume. Dabei lässt er in seinen erklärungen sehr häufig ein wort fallen: »passione«. in der sprache seines unternehmens bedeutet das: Die leidenschaft Dinge zu erschaffen, die zugleich anspruchsvoll und nachhaltig sind. mit der denkbar besten handwerklichen Kompetenz verarbeitet und von höchster materialqualität. letzteres markiert den auftakt des gesamten herstellungsprozesses mit einem rigorosen »capitolato«. zu deutsch: leistungsheft. ein technisches Dokument, das alle erdenklichen eigenschaften wie die herkunft des leders, den ph-wert, die stärke der Fasern, etc. penibel auflistet. Denn

nachdem das material von lederspezialisten aus spanien, Frankreich und italien nach vicenza geliefert wurde, beginnt der so genannte ledertest anhand von circa zwanzig radikalen Qualitätskontrollen. während andere Designerlabels lediglich auf messen fahren, die häute einkaufen und dann sofort in die produktion geben, erfolgt bei Bottega Veneta zunächst eine ausgedehnte selektion nach einwandfreiem leder von den besten lederherstellern – und die müssen dabei natürlich den internationalen richtlinien und den weltweit gültigen standards entsprechen. obwohl man betont, dass eine exzellente zusammenarbeit mit den zulieferer besteht, gilt trotzdem die Devise: vertrauen ist gut, Kontrolle ist besser. es beginnt mit der detaillierten prüfung der Farbintensität des leders. in einer Kabine mit konstanten lichtverhältnissen wird untersucht, ob die Farbe gegebenenfalls einschlüsse oder unebenheiten aufweist. ist dies nicht der Fall, wird das material einem sonnentest unterzogen, zunächst 24 stunden lang, danach ganze drei tage. Das Besondere dabei ist, dass dem leder in keiner produktionsstufe chemische protektion zugefügt wird, geschweige denn andere künstliche zusatzstoffe, die es resistenter machen sollen. stattdessen gilt die maxime: Die natürlichkeit des leders soll erhalten bleiben. ein nicht gerade leichtes unterfangen, wenn man aspekte wie die stets wachsende nachfrage oder die zunehmende umweltverschmutzung bedenkt. Doch zurück zum »capitolato«: wenn die elastizität des leders eine ausdehnung von über sieben millimeter garantiert und die resistenz der oberfläche als standesgemäß empfunden wird, kommt es zu einem ersten »real life«-test – der simulation des ledergebrauchs. mittels einer speziellen maschine wird zum Beispiel das Öffnen und schließen der tasche nachgeahmt. Ganze 15.000 mal. Bei ledersorten, die für schuhanfertigungen vorgesehen sind, wird das Gehen mit insgesamt 20.000 schritten nachempfunden. Dies mag als enormer aufwand erscheinen, aber nur auf diese weise kann bei Bottega Veneta produkten

QVEST summer 11 / 129

128 / QVEST summer 11

60 / QVEST autumn 11

QVEST autumn 11 / 61

Flamboyant, sensual, surprising and sometimes a little edgy: QVEST features fashion in all its facets. We present big-name labels and visionary newcomers in fascinating portraits and intimate interviews. Our exclusive photo series are created by the best photographers and stylists in the world.

From lamps, tableware and gadgets, to designer chairs: QVEST finds beauty everywhere. Often just where you would least expect it …

BEAUTY

ACCESSORIES & JEWELLeRY

xxx

xxx

xxx

SENSUAL ExCESS Olfaktorische neuerscheinungen des Frühlings und ausgewählte Duftklassiker in einer sinnlichen explosion aus Form und Farbe.

photography BEnJAMIn HénOn photographer assistant CAROLInE GuERIn production JASMIn RÖHSE

c o n c e p t & p r o d u c t i o n i MARco HÜlSEBUS & yIlMAZ AKtEPE p h o t o g r a p h y BRUNo AlExANdER h a i r- s c u p l t u r e s & m a k e - u p MARco HÜlSEBUS u s i n g cHANEl s t y l i n g yIlMAZ AKtEPE m o d e l tAtIANA cHEcHEtovA p h o t o a s s i s t a n t JUlIA BEHRENdt s t y l i n g a s s i t a n t dAgMAR JoHANNESEN h a i r a s s i s t a n t s yASMIN FARMAN, FElIPPA

CHANEL bleu de chanel edT ~ 55 Euro

>

CHANEL coco mademoiselle edT ~ 60 Euro

>

HERMèS eau claire des merveilles edT ~ 65 Euro

50 / QVEST start 11

ARMANI Armani code Summer pour homme edT ~ 50 Euro

>

CALVIN KLEIN beauty edP ~ 50 Euro

>

JIL SANDER Sensual Jil edT ~ 45 Euro QVEST start 11 / 51

golden frilled dress gUccI

74 / QVEST spring 11

QVEST spring 11 / 75

QVEST is passionate about products that care for you, smell great and make you look fantastic. A homage to beauty with extraordinary images and fact-filled reports looking into what’s behind those beauty care products.

If it’s beautiful and raises your outfit to new heights, it belongs here: bags, shoes, scarves, sunglasses etc. are more than just extras. So QVEST gives them the attention they deserve – along with the season’s best jewellery and watches.

AUTOMOTIVE

ART & CULTURE

Cars are part of our urban lifestyle – all the more reason to keep an eye on what’s new on the roads. QVEST profiles the latest, smartest and most desirable automobiles – with a healthy appreciation of the engineering that goes into them.

QVEST can be cultivated and even a little highbrow. We help you decide what you should be reading and listening to this season. We feature exclusive interviews with artists, new art works and up-close-and-personal views of the international art scene. QVEST places the focus on creators and creations you won’t see anywhere else – cutting edge and avant-garde.


WHO READS QVEST? > QVEST readers are high achievers who approach the world and their own lives with a high level of motivation. They have an active critical faculty and are passionate about the products they love. They are doers, not dreamers. > Breakdown of QVEST reader profiles: 51 % women, 49 % men, aged between 21 and 49 with a keen interest in fashion, beauty, design, art, culture and travel – always on the lookout for something special, extraordinary, original. >

QVEST readers are mid to high income earners and they are always on the move. Their personal motivation and/or their passion-driven job mean they visit various major cities throughout the year and keenly observe the trends when they are there – always in the right place and in the appropriate surroundings.

>

For media planners, QVEST offers a target group that is not covered by the classic fashion press: creative opinion-makers with an awareness of lifestyle and a keen interest in everything that is inspiring, in motion and forward looking, in an international context.

> QVEST readers create trends, set values and see themselves as confident communicators and charismatic opinionated leaders in their own environments.


PUBLISHING DATES 2012 QVEST #49 Publishing Date: 15.02.2012 Booking Deadline: 24.01.2012 Printing Material: 27.01.2012

QVEST #50 Publishing Date: 11.04.2012 Booking Deadline: 19.03.2012 Printing Material: 23.03.2012

QVEST #51 Publishing Date: 20.06.2012 Booking Deadline: 25.05.2012 Printing Material: 29.05.2012

QVEST #52 Publishing Date: 22.08.2012 Booking Deadline: 30.07.2012 Printing Material: 02.08.2012

QVEST #53 Publishing Date: 02.10.2012 Booking Deadline: 10.09.2012 Printing Material: 14.09.2012

QVEST #54 Publishing Date: 28.11.2012 Booking Deadline: 05.11.2012 Printing Material: 09.11.2012

Print run: 80.000 copies German: 60.000 Exemplare English: 20.000 Exemplare Price per copy: EUR 6,50 Distribution: press retail


ADVERTISING RATES

ADVERTISEMENT FORMATS AND TECHNICAL DATA

PREMIUM placement

Booklet format

opening spread 1. doublepage 2. doublepage 3. doublepage 4. doublepage 1/1 page (1st third) 3rd coverpage backcover

210 mm x 285 mm

Euro 21.500,Euro 19.700,Euro 18.800,Euro 17.900,Euro 16.500,Euro 9.000,Euro 8.500,Euro 12.900,-

Printing process Cover: sheet-fed offset Content: rotary offset Data 60 offset raster with proofs in black, cyan, magenta and yellow (in that order) or colour proof with media wedge. Small tone value variations may occur (tolerance range due to the web offset printing process).

PROCESSING

STANDARD PLACEMENT 1/1 page 2/1 page 1/3 page

Adhesive binding

Euro 7.500,Euro 13.600,Euro 3.500,-

ADVERTISING DIRECTOR Miriam Tonner Fon +49 221 952 749 13, Fax +49 221 952 749 99 tonner@qvest.de

REPETITION AND QUANTITY SCALE Advertisements 3 4 5 6 8 10 12 14 16 18

Repetition scale 4% 6% 8% 10% 12% 14% 15% 16% 17% 18%

Pages 3 4 5 6 7 8 9 10 11 12

Quantity scale 7% 8% 9% 10% 11% 12% 13% 14% 15% 16%

PRINTING DOCUMENTS PDF, Colour profile: ISO Coated v2 300% (ECI). Trim size is 5mm; live area should be kept at least 10mm from trim on all sides.

Data submission QVEST Zeughausstrasse 13, 50667 Kรถln Fon +49 221 952 749 0, Fax +49 221 952 749 99 advertising@qvest.de


QVEST.DE QVEST.DE offers a palette of online advertising forms targeted to achieve your multifaceted communication objectives. Online marketing on QVEST.DE is centred around the credible embedment of relevant brand messages. With advertorials, online ads or moving image formats: QVEST.DE can help you reach premium target groups as well as increase brand awareness and image scores. QVEST.DE facilitates an intensive consumer engagement with your products, with - depending on the product 単 a consistent level of response orientation. The QVEST.DE editorial team presents your focus topics sophisticatedly, as quality content with a high credibility factor.


Online Werbeformen Content-Ads QVEST.de

from EURO 2.000,-

Content ads are placed directly into QVEST.DE’s editorial environment and are surrounded on at least three sides by editorial content. Integration into the content area generates high awareness for your advertising message.

Advertorials QVEST.de

from EURO 4.000,-

Elaborate design, including sub pages, with the look and feel of editorial content. Integration into the premium »FEATURED« homepage section.


Video-Streams

EURO 3.000,- / Month

The QVEST.DE video player offers audiovisual content users can select according to genre, topic or series. The videos are presented in a separate section, but can also be accessed via the editorial content they are embedded into, encouraging a base of regular viewers. Users can choose from a variety of player sizes.

Layer

EURO 4.000,- / Month

Transparent Flash layers are perfectly suited for awareness-heightening, interactive effects. Content overlay generates maximum awareness. Interstitials guarantee high response probability.

SPEC. INSERTIONS & CROSSMEDIA We can develop customized campaigns with advertorials, special topics or micro sites to meet your individual requirements and objectives. Crossmedia strategies integrating print and online presence are designed to reach your premium target audience more effectively and sustainably. We will gladly provide creative concepts, special crossmedia discounts, prices and formats upon request. Please feel free to contact us. Contact: Miriam Tonner, tonner@qvest.de / +49 221 952 749 - 0


GENERAL TERMS AND CONDITIONS § 1 ADVERTISING CONTRACTS Advertising contracts in the meaning of the following Terms and Conditions are contracts regarding the insertion of oneor several advertisements in a newsprint product on behalf of an Advertiser. § 2 CALL OFF DEADLINE If in doubt, advertisements must be called-off within one year of placing the respective blanket order. If the right to place call-off orders has been granted within the framework of any suchblanket order, then such order must be completed within one year subsequent to publication of an initial advertisement, if the fi rst ad had been called-off and published within the term according to Sentence 1 above. § 3 EXENTING A BLANKET ORDER In case of blanket orders, the buyer is entitled to within the term agreed upon or specifi ed in Section 2, call off advertisements in addition to the quantity agreed upon in the blanket order. § 4 REFUND OF DISCOUNTS If a contract is not fulfi lled partially or as a whole for reasons not attributable to the Publisher, the Advertiser is obliged to refund the difference between the discount granted by the Publisher and the discount applicable for the actual quantity booked. Refunds are not applicable ifnoncompliance had been due to acts of good within the sphere of responsibility of the Publisher. § 5 CALCULATION OF QUANTITIES For the purpose of calculation of quantities, the millimeters of text lines areconverted to millimeters of advertising space. § 6 REQUESTS FOR SPECIAL PLACEMENTS Advertisements and Third Party supplements, which are to placed in certain issues, certain editions, or in certain positions of any newsprint products, must be received by the Publisher early enough to allow for notifi cation of the Advertiser prior to the advertising deadline, if the order cannot be fulfilled in the requested manner. Classified ads shall be printed in their respective sections, without any need for additional explicit agreements. § 7 TEXT SECTION ADS Text section ads are any advertisements bordered by editorial text on at least three sides and not by other ads. The Publisher shall clearly mark any advertisements not readily identifi able as such because of their layout and design with the word »Advertisement«. § 8 PUBLISHER`S RIGHT OF REJECTION The Publisher reserves the right to reject advertising or supplement orders – including individual call-offs based on blanket orders – , in the following cases: content, origin, or technical form of the advertisement are objectionable judged by the internal guidelines of the Publisher, the content violates legal provisions and administrative regulations, or the publication would be unacceptable to the Publisher. This is also applicable to orders placed at external offices, agencies, or representative offices. Supplement orders are

binding to the Publisher only subject to the provision of a sample of the supplement and its approval. Supplements, which, because of their design and layout, suggest to the reader that they are part of the newspaper or magazine, or which contain ads by Third Parties, will not be accepted. The Advertiser shall be informed of any rejection without delay. § 9 OBLIGATIONS OF THE CONTRACTING PARTIES The Advertiser is solely responsible for the timely delivery of advertising copy and for proper printing material or for the delivery of supplements. The Publisher shall immediately request replacements for any printing material, which is obviously unsuitable or damaged. The Publisher guarantees the usual standard of print quality for the selected title within the technical scope of the printing material submitted. § 10 LIABILITIES OF THE PUBLISHER The Advertiser is entitled to a reduction of charges or to a new advertisement without defects if the requested adver tisement is completely or partially illegible, incorrect or incomplete. The liability of the Publisher is, however, limited to the extent, to which the purpose of the advertisement was impaired. If the Publisher does not remedy the defect within a reasonable period, or if the new advertisement is again not without fault, then the Advertiser is entitled to a reduction of charges or he may rescind the contract. For damages, which are not personal injury (impairment of body, life, or health of a person), the Publisher shall accept liability up to the amount of the foreseeable damage, limited, however to the amount payable for the advertisement or supplement in question. This is not applicable to damages arising from gross or deliberate negligence on the part of the Publisher, his lawful representative or assistant. A liability of the Publisher due to a guarantee given by the Publisher remains unaffected. In the course of normal business-tobusiness transactions, the Publisher, moreover, is not liable for gross negligence of his assistants. In all other cases, the liabilities for gross negligence towards professional businesses are limited to the amount of payment due for the respective advertisement. Complaints – including those concerning defects, which are not immediately noticeable – must be submitted within four weeks after receipt of invoice and voucher. § 11 PROOFS Proofs are supplied upon express request only. The Advertiser shall be responsible for the correctness of the returned proofs. The Publisher shall correct any errors, which are made known to him within the time limit specifi ed when providing the proofs. § 12 BASIS OF CALCULATION If specifi c sizes are not expressly requested, the actual printing height as is common for that type of advertisement will be taken as the basis for calculation. § 13 TIME LIMIT FOR PAYMENTS If the Advertiser does not make payment in advance, the invoice shall be posted within 14 days following publication of the advertisement. The invoice shall be paid within the

time limit as shown on the rate card, starting with the receipt of the invoice, if in specifi c cases no other time limit for payments or advance payment has been mutually agreed upon. As applicable, early payment discounts maybe granted based on the data shown on the rate card. § 14 DEFAULT OF THE ADVERTISER In case of default or deferral by the Advertiser, interest as per the rate card data shall be paid in addition to any costs and expenses incurred for collection. In case of default, the Publisher may put on hold any further advertisements based on the current blanket order until payment has been received. In case of reasonable doubt as to the ability of the Advertiser to pay, the Publisher is entitled to make the insertion of further advertisements, regardless of terms and conditions previously agreed upon, conditional upon advance payment of any amounts due and upon the payment of outstanding debts, even while a blanket order is still in force. § 15 DOCUMENTATION OF ADVERTISEMENTS Upon request, the Publisher may supply proof of advertisements together with the invoice. Depending on type and size of the contracted advertisements, such documents shall be voucher copies, tear sheets or complete copies. If no other documentation is available, the Publisher may issue a legally binding statement certifying proper publication und stating relevant circulation data. § 16 OTHER COSTS The Advertiser shall bear the costs for preparing any plates, paperboard mats, and drawings, as well as for any extensive modifi cations, which were necessitated and requested by the Advertiser. § 17 REDUCTIONS OF THE DECREASED CIRCULATION The Advertiser may be entitled to re-duced charges in case of a decreased circulation, if a blanket order for a number of advertisements was placed. This is applicable if the total average circulation within the year starting with initial insertion is lower than the average circulation given on the rate card or in any other manner, or, if a specific circulation is not given, the average number if copies sold (in case of trade journals this may be the average number of copies actually distributed) in the previous year. Reduced charges are applicable if the circulation is decreased as follows: In case of a circulation of up to 50,000 copies 20 percent In case of a circulation of up to 100,000 copies 15 percent. In case of a circulation of up to 250,000 copies 10 percentIn case of a circulation of more than 250,000 copies 5 percent. Other than that, reduced charges with respect to blanket orders are excluded, if the Publisher notifies the Advertiser of a decrease in circulation early enough, to allow the Advertiser to rescind the contract prior to publication. § 18 REDUCTIONS IN CASE OF GUARANTEED CIRCULATION Notwithstanding the provisions of Section 17, a reduction of charges with respect to decreased circulation for titles, which publish issue-related circulation data, is applicable only to the extent that it exceeds 10 percent in a circulation of up to 250,000 copies guaranteed circulation) and 5

percent in a circulation of more than 250,000 copies (guaranteed circulation). The circulation, upon which the guarantee is based, is the total number of copies sold in the sense of the defi nition given by the IVW. It is calculated for the year of insertion from the average circulation in the four quarters prior to the insertion year, if the Publisher does not specify or guarantee any defi nitive circulation in the respective rate card. Any claims for reduction of charges are however subject to the eligibility for frequency discounts based on a blanket order for at least three issues. Reductions of charges are calculated on a contract-per-company basis, provided that at the time of order placement a calculation per brand names, as defi ned at the time of order placement has not been specifically agreed upon. Possible charge reductions are calculated as the difference between the number of copies above and below the standard circulation for each contracted issue within the year of insertion. The refund is made at the campaign end, based on the customer net values taking into account any amount credited to agencies for further ads, or, if that is not possible, as cash refund. A refund may be validly claimed only if the sum total of the refund amounts to at least 2.500,00 EUR. § 19 BOX OF NUMBER ADVERTISEMENTS In case of box number advertisements, the Publisher applies the diligence of a business professional, when dealing with and forwarding any offers. Registered mail and express letters in response to box account advertisements will be forwarded as standard mail only. Any incoming letters for box account advertisements shall be retained for four weeks. Letters, which have not been picked up within that term, will be destroyed. Valuable documents shall be returned by the Publisher without obligation. In order to protect the interests of the Advertiser, the Publisher reserves the right to open incoming letters for checking purposes in order to prevent the abuse of box number services. The Publisher is not obliged to forward any business proposals and agency offers. § 20 HANDLING OF PAPERBOARD MATS Paperboard mats are returned to the Advertiser upon request only. The obligation to retain such material expires three months after expiry of the contract. § 21 PLACE OF PERFORMANCE AND JURISDICTION Place of performance is the seat of the Publisher. The place of jurisdiction in case of proceedings arising from business with other companies, legal persons, public corporations, or any institutions under public law is the seat of the Publisher. Inasmuch as the Publisher has not instituted judicial dunning procedures, the place of jurisdiction for private customers is their place of residence. If the place of residence or the usual abode of the Advertiser, including private persons, at the time of raising a claim is unknown, or if the Advertiser has moved his residence out of the area of jurisdiction, then the place of jurisdiction will be the seat of the Publisher.


KAUNE, SUDENDORF PUBLISHING GMBH Zeughausstrasse 13 50667 Kรถln Fon +49 221 952 749 0 Fax +49 221 952 749 99 advertising@qvest.de www.qvest.de


ADVERTISING RATES 2012  
Read more
Read more
Similar to
Popular now
Just for you