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The press, streets, monuments, transportation, and countryside became a vast set on to which aperitif brands and their imagery could be projected.
It also halted publicity for aperitifs in newspapers, on the radio, and billboards.
And already their walls are covered with aperitif advertising.
Integral to the cultural landscape, aperitif advertisements and brand names were employed by novelists and film makers to conjure up contemporary scenes, personalities, and moods.
This legislation banned the manufacture and sale of aperitifs based upon alcohol distilled from anything other than grapes.
It more than adequately compensated for the unreliability of the daily press and enabled aperitif companies to target specific social groups.
By the interwar period, the low price of wine had given aperitif producers an added incentive to invest in advertising.
Many writers evoked the way that advertising filled country fields with fantastical figures linked to aperitifs.
Given the similarity of certain aperitifs, producers ensured that customers automatically requested their own brand when ordering a drink.
The development of advertising using loudspeakers and radio advertising helped the diffusion of aperitif slogans.
In addition, being associated with the metropolis added to the sophistication of certain aperitifs.
For the aperitif companies, a memorable slogan was indispensable.
There was constant interplay between aperitifs, their branding, advertisements, placements, and image.
Such a lucrative, but competitive market meant that advertising assumed a vital importance for aperitif and absinthe producers, who could distinguish their merchandise and appeal to different consumer requirements.
As well as ensuring that consumers asked for the product by its brand name, aperitif companies attempted to make consumers visually aware of the product's appearance.
