Title | SOUVENIRS DE PARIS |
Brand | CENTRE POMPIDOU |
Product/Service | CENTRE POMPIDOU |
Category |
G02. Challenger Brand |
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 |
Why is this work relevant for Brand Experience & Activation?
The creative idea allows foreign tourists to really experience the playful spirit of Pompidou, with a clear end objective : make them want to visit it. When exposed to the street sellers during the campaign, tourists were given the opportunity to grab a statuette and be directly lead to a visit of the Centre Pompidou.
background
The brief was to increase the proportion of foreign tourists among the visitors. The Pompidou Centre is an exception in the landscape of major French museums: unlike other similar institutions such as the Louvre or Orsay, 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. The ratio is almost the opposite for the other major museums in the capital, which have become must-see tourist destinations.
Describe the creative idea (20% of vote)
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 ?
"Souvenirs de Paris" consisted in creating statuettes of the Centre, and selling them in the middle of the "real ones" to exaggerate the fame of the Centre... and thus convince the tourists of its unavoidable character.
Describe the strategy (20% of vote)
A study commissioned in 2017 by the Tourism Secretariat of the Ministry of Foreign Affairs provided us with a first part of the answer, because tourists plan everything... but like nothing more than to be surprised: 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 encouraged us to dig this path: by its central place in Paris, the Centre is very frequently crossed by tourist routes, who wonder what it is without really entering it.
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.
Describe the execution (30% of vote)
We produced 30 000 statues that were sold in 300 different small businesses and street sellers around the biggest monuments
The guerilla campaign was launched on September 1st 2018 then the brand content film was aired from November 15th to November 29th
List the results (30% of vote)
2 months after the film was launched, the campaign generated the following results:
A film watched by more than 6 million people on YouTube and Facebook, for a media purchase of €35,000. Top 5 countries: USA, Mexico, Canada, Argentina, France, having generated a considerable peak of traffic on the Pompidou Centre website from foreign Internet users (+321% over the film launch period).
TV spinoffs in many countries.
And results in terms of attendance that AFP attributes in particular to the campaign:
The Pompidou Centre, which houses one of the two most important collections of modern and contemporary art in the world, recorded an overall increase of +5% (+18% for its permanent collections) with 3.5 million visitors.
Observing foreigners -- only 40% of visitors -- do not know it well enough, the first French museum of modern art launched a humorous video in autumn, which was very popular on the Internet.
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 standardised tours in favour 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.