| Title | SOUVENIRS DE PARIS |
| Brand | CENTRE POMPIDOU |
| Product/Service | CENTRE POMPIDOU |
| Category |
B01. Challenger Brand Strategy |
|
Entrant
|
MARCEL Paris, FRANCE
|
|
Idea Creation
|
MARCEL Paris, FRANCE
|
|
Media Placement
|
BLUE 449 Paris, FRANCE
|
|
Production
|
ARTISANS DU FILM Paris, FRANCE
|
|
Production 2
|
ADF L’ATELIER Paris, FRANCE
|
|
Production 3
|
PRODIGIOUS Paris, FRANCE
|
|
Additional Company
|
CENTRE POMPIDOU Paris, FRANCE
|
|
Additional Company 2
|
MSLGROUP Paris, FRANCE
|
Credits
| Benoit Parayre |
Centre Pompidou |
Director of Communications and Public Relations |
| Catherine Guillou |
Centre Pompidou |
Director of Audience engagement and Education |
| Marc-Antoine Chaumien |
Centre Pompidou |
Assistant Director of Communications and Public Relations |
| Cécile Venot |
Centre Pompidou |
Chief of Audience Engagement |
| Paul Mourey |
Centre Pompidou |
Head of digital |
| Elodie Vincent |
Centre Pompidou |
Chief Press Officer |
| Aurélie Jourde |
Centre Pompidou |
Assistant Chief of Audience Engagement |
| Isabelle Danto |
Centre Pompidou |
Video Production Manager |
| Chloé Tournès |
Centre Pompidou |
Social Media Manager |
| Catherine Legoux |
Centre Pompidou |
Executive Assistant |
| Agathe Bousquet |
Publicis France |
President Publicis France |
| Pascal Nessim |
Marcel |
CEO |
| Charles Georges-Picot |
Marcel |
CEO |
| Anne de Maupeou |
Marcel |
CCO Publicis France |
| Youri Guerassimov |
Marcel |
Executive Creative Director |
| Gaëtan du Peloux |
Marcel |
Executive Creative Director |
| Antonin Jacquot |
Marcel |
Copywriter |
| Clément Sechet |
Marcel |
Art Director |
| Aurélie Halbmeyer |
Marcel |
Art Director |
| Arnaud Raquin |
Marcel |
Motion |
| Blandine Mercier |
Marcel |
Partner |
| Noëlla Neffati |
Marcel |
Account Manager |
| Claire Sioufi |
Marcel |
Project Manager |
| Jeanne Philippe |
Marcel |
Project Manager |
| Nicolas Levy |
Marcel |
CSO & Managing Partner |
| Julien Petit |
Marcel |
Social Media Manager |
| Romain Jouffriault |
Marcel |
Social Media Manager |
| Catherine Helfenstein |
Publicis Conseil |
PR |
| Leila Touiti-Rose |
Marcel |
PR |
| Bethany Catterson |
Marcel |
Linguistic Consultant |
| Paul Vanlerberghe |
Marcel |
Front-End Developer |
| Edouard Danesse |
Marcel |
Technical Project Manager |
| Guillaume Talvas |
Artisans du Film |
Director |
| Valéry du Peloux |
Artisans du Film |
Producer |
| Nils Runiet |
Artisans du Film |
DOP |
| Niels Benoist |
Artisans du Film |
DOP |
| Pierre Bernier |
Artisans du Film |
Camera |
| Frédéric Ouziel |
Artisans du Film |
Camera |
| Valentin Verrier |
Artisans du Film |
Sound |
| Nadia Moussa |
Artisans du Film |
First Assistant Director |
| Laura Fague Martin |
Artisans du Film |
Production Coordinator |
| Maxime Maujan |
Artisans du Film |
Camera Assistant |
| Guillaume Talvas |
Artisans du Film |
Editing |
| Cécile Valente |
Artisans du Film |
Editing Assistant |
| Thibaud Colignon |
ADF L’atelier |
Post-Production Supervisor |
| Charli Masson |
ADF L' ATELIER |
Sound Mixer |
| Johan Tür |
ADF L’atelier |
Colorist |
| David Makima |
ADF L' ATELIER |
Music |
| Suzanne Pereira Dias |
Marcel |
Producer |
| Nathalie Turmel |
Marcel |
Producer |
| Mathieu Andrieu |
Marcel |
Model Maker |
| Aurélie Halbmeyer |
Marcel |
Photographer |
| David Verduci |
Prodigious |
Retoucher |
| Pascal Crifo |
Blue 449 |
CEO |
| Julie Emberger |
Blue 449 |
Head of Digital trading |
| Théo Ravel de Fereirolles |
Blue 449 |
Social Media Strategist |
| Fouad Hachani |
Blue 449 |
Head of Brand Activation |
| Carmelle Basset-Chercot |
Blue 449 |
Endorsement & KOL |
| Clément Leonarduzzi |
MSL |
CEO Publicis Consultants |
Summary
The objective was to increase the proportion of foreign tourists among the visitors of the Pompidou Centre: unlike other similar institutions such as the Louvre Museum or the Orsay Museum, its share of foreign visitors is lower than its share of local visitors. In 2017, 3.37 million people visited the Centre: 40% are foreign tourists, and 60% are French (mostly Parisians). By 2020, the Pompidou Centre aims to achieve a 50/50 balance by increasing its growth in foreign tourists faster than that of Parisian visitors.
How can we attract foreign tourists to the Pompidou Centre when we have no reputation, no flagship work, no means, no legitimacy and no content to seduce them when they plan their visit to Paris?
A study commissioned in 2017 by the Tourism Secretariat of the Ministry of Foreign Affairs provided us with a first part of the answer: 80% of them say they are willing to drive two hours to visit a real atypical place, confirming that despite the care they have taken in their planning, it is ready to be turned upside down against the promise of a real experience.
Another insight, this time observed by the GPC, encouraged us to dig this path: by its central place in Paris, the Centre is very frequently crossed by tourist routes.
These two insights conditioned our reasoning, and guided us towards a hacking strategy: to succeed in diverting tourists when they travel, when they are in Paris, with the promise of a unique and surprising experience in this mysterious building.
The creatives came back with the idea of creating statuettes of the Centre, and selling them in the summer of 2018 in the middle of the "real ones"... and thus convince the tourists of its unavoidable character.
By creating its own statuette and marketing it near the great monuments of Paris, the campaign takes a shortcut to notoriety by assuming an unstoppable signifier of notoriety. The statuette is an absolutely immediate detonator of meaning, and the street sellers are the best prescribers because their integrity can never be questioned.
The happening itself is only a pretext. It would have been naive to believe that it alone could enable us to achieve the long-term traffic growth objectives set by the Pompidou Centre.
This is why this campaign is, in fact, the Centre’s first branded film.
2 months after the film launch, the campaign generated the following results:
A film watched by more than 6 million people on YouTube and Facebook, for a media purchase of €25,000. Top 5 countries: USA, Mexico, Canada, Argentina, France, having generated a considerable peak of traffic on the website from foreign Internet users (+321% over the film launch period).
The Centre, recorded an overall increase of +5% (+18% for its permanent collections) with 3.5 million visitors.
The film is conceived as a mirror of what the Centre invites us to do: an unabashed reflection on contemporary art, wishing above all to remain accessible and welcoming.
Please tell us about the challenger brand and how your campaign challenged / was different from your competitors
Tourists are increasingly abandoning tour operators and their standardized tours in favor of tailor-made tours determined from home, prior to the trip using Google, blogs and Trip Advisor-type opinion sites. This, for the moment, is an opportunity for the GPC to go back to a crucial place in the consumer journey and recruit tourists when planning. It is certainly an opportunity, but an extremely costly opportunity because it involves launching into several projects on already very crowded grounds, and in several countries at the same time: a bidding war to go up in Google search results, affiliation to go up in the top of Parisian places to visit on Trip Advisor etc....things that the Centre Pompidou doesn’t have anywhere near the budget to afford.