Category A02. Applied Innovation
Entrant MARCEL Paris, FRANCE
Idea Creation MARCEL Paris, FRANCE
Media Placement BLUE 449 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
Name Company Position
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 Innovation?

"Souvenirs de Paris" consisted in creating statuettes of the Pompidou 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 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 idea

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.

What were the key dates in the development process?

"Souvenirs de Paris" consisted in creating statuettes of the Georges Pompidou Centre, and selling them in the summer of 2018 in the middle of the "real ones" to exaggerate the fame of the Centre... and thus convince the tourists of its unavoidable character. At first sight it is an ambush marketing campaign that aims to bring tourists back at the key moment when they visit Paris' most famous monuments. By creating its own statuette and marketing it near the statuettes of 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 guerilla campaign was launched on August 26th 2018 then the brand content film was aired from November 15th to November 29th.

Describe the innovation / technology

We had to find a partner to make the statuette look as close as possible to the actuel souvenirs stauettes that are sold near the biggest Parisian must sees. The statuette features a QR code that opens the map app on IOS and Android devices, indicating the shortest way for people to come to the Centre Pompidou.

Describe the expectations / outcome

The campaign is conceived as a mirror of what the Georges Pompidou Centre invites us to do: a reflection that is unabashed and open to all on contemporary art, wishing above all to remain accessible and welcoming. More than 6 million vues 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 website from foreign users (+321%). AFP attributes this to the campaign: “The Pompidou Centre, {…} recorded an overall increase of +5% (+18% for its permanent collections) with 3.5 million visitors. {…} The museum launched a video, which was very popular on the Internet.”