Title | SOUVENIRS DE PARIS |
Brand | CENTRE POMPIDOU |
Product/Service | CENTRE POMPIDOU |
Category |
A02. Applied Innovation |
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 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.
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 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.”