Marion Thiéry and Delphine Tabutin (WNP) welcome the case of the fake restaurant The Shed of Dulwich, which “played with ranking systems, influencers and social networks to become London’s number one restaurant on Tripadvisor… when it did not exist. “An epic that says a lot about the possibility of playing with algorithms in a creative way, whereas they tend to be suffered by brands. What if this is the beginning of the counterattack?
In a similar vein, that is, to play with the codes of digital and communication to get noticed, Louis Bonichon (MNSTR) has identified the tendency of “the interpellation by error or premeditated bad buzz”. This high-flying exercise, when mastered, generates many conversations. An example? Intermarché and Romance which voluntarily confuse lettuce with cabbage, to give the brand’s audience the chance to contradict it… or for dunces to learn a little more about the plant world.
The associate Creative Director of MNSTR also cites Mailchimp, who has made a mockery of the fact that people distort his name to develop a digital presence that is as sprawling as it is improbable. Or Honey Maid, who deliberately provoked “a bad buzz to make negative comments about the source of his story”.
After FrenchTech, FrenchAd?
Olivier Henry, co-founder and chief creative officer of the agency La Force, sees France’s economic recovery as a creative opportunity. “Certainly, there is no such thing as a French GAFA, but on the other hand, there are many brands, start-ups and services designed and developed in France for the French. »
For Olivier Henry, this vitality and the emergence of new national brands should enable campaigns to reach the public more: “There will always be smooth and consensual international campaigns, but somewhere along the line, it doesn’t affect us much. Even if it’s often well produced, seeing a couple of Californians dancing on Venice Beach all teeth out for a big brand tech / luxury / car / etc. is nice, but we’re not Californian. How many of us have been much more touched by Intermarché’s “love, love” than the iPhone X movie? »
The creative director of La Force draws from the rearview mirror to move forward: “In the 1980s and 1990s, advertising did not seek to imitate what was done in the United States, but rather to be local. French for the French. And it was brilliant. We have a rich culture, a collective experience that must be expressed in creation to guarantee its effectiveness. So be careful, it’s not about closing yourself off to others either, no, but realizing that the Frenchman is Johnny Hallyday, NTM, Booba AND Rihanna, Coldplay and the Stones. That we consume Apple and the French Panties. »
By transposing this into advertising creation, Olivier Henry hopes to see “films with titles sung in French, comedies with French cultural references, social campaigns with a more French lifestyle, radio and press campaigns with French slang and French expressions. “From there to imagine why not” an equivalent of the Chrysler film with Eminem but for Renault with Damso? “We sign right away, dancing the macarena.
The return of the return of humour
Already identified in 2017, the return to humour should be given a prominent place in advertising campaigns this year. The subject is obviously topical with the ads for the Super Bowl, never stingy in dirty jokes.
Matthieu Elkaim (BBDO Paris) sees humour above all as “a mirror of social responsibility that generates a return to a welcome lightness, with a few very tearful and benevolent years. “But more than a reaction, “CSR words become actions” (see above) “decomplex brands when it comes to broadcasting highly advertising formats, 30 seconds long, simply funny and effective. Because in the middle of a battle for attention, it will always be more obvious to capture attention with a good joke! »
Are brands capable of being strong in both CSR and irreverence? The Creative Director of BBDO Paris cites Burger King in the United States as an example of “who, on the one hand, is committed to school harassment or net neutrality, and on the other hand, develops his communication that is both funny and incisive”.
The creative triple jump in the spotlight
Rosapark has set itself an ambitious objective for 2018: the “triple creative leap”. As Gilles Fichteberg, co-founder and co-director of creation, explains: “Yesterday, the creative leap was rupturable, infallible and almost magical. Today, it is no longer enough. “It’s time for the agency to enter the era of the creative triple jump.”
What is this creative triple jump?” For Rosapark, it’s three times,” continues Sacha Lacroix, general manager:
- To get into the customer’s engine and offer him a service, a product, an offer that will transform his business.
- Create a shape that will attract attention in a world where Netflix is king.
- And make the creation take off with a creative form for amplification. »
Three times that we could summarize as follows: transformation, creation, amplification. Gilles Fichteberg insists on “the balance between these three jumps – none of which must be abandoned – that is necessary to recreate proximity with consumers”.