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 Direct?
The creative idea triggers a direct response : 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 (30% 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. The campaign takes a shortcut to notoriety by assuming unstoppable signifiers of notoriety: the statuette and the street sellers.
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 (20% 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 €25,000. 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).
The Centre, recorded an overall increase of +5% (+18% for its permanent collections) with 3.5 million visitors.
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.