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GoSee CREATIVES TO WATCH : Clement Palouzier and Antoine Querolle, CDs at Publicis Conseil present the new RENAULT campaigns ‘R5volution is a French thing' and ‘Renault Captur – Push it to the limit’ here on GoSee

We are delighted to introduce the two creatives Clement Palouzier, Senior Creative / Art Director at Publicis Conseil, and Antoine Querolle, Creative Copywriter at Publicis Conseil, here on GoSee. For many years, they have both been responsible for realizing multi-awarded campaigns and exciting projects at the Paris-based agency. For their client RENAULT, they have been working on two new campaigns which they present us here on GoSee : ‘R5volution is a French thing’ with music by our favorite French duo Daft Punk and ‘Renault Captur – Push it to the limit.’

Clement tells GoSee : “Antoine and I met five years ago at Publicis Conseil. At that time, both of us were working independently, and we decided to team up and work together. We create films and activations for clients such as Renault, Dacia, Orange, Fnac, Engie, Licra, and others. Typically, we receive a brief together and then brainstorm separately. Afterward, we share our ideas and discuss them to refine and enhance them. We then create key visuals to convey the overall feel and ambiance of the project and prepare our presentation with a video to give a rough idea of how it might look.”

R5volution is a French thing – The relaunch of such an iconic model is an event, but the new R5 has been redesigned from scratch: 100% electric, made with recycled and renewable materials, and featuring a visionary design. Call us nostalgic, but : “If you want to start a revolution, you have to leave everything you’re familiar with behind.

The film is a metaphor for a turning point – bidding the old automotive world farewell and the start of a new one. Through an epic journey, viewers follow a man climbing a gigantic mountain made of old Renault cars. The mountain itself represents what the brand (and more generally, the entire automotive industry) used to be: thermal vehicles with combustion engines, causing pollution, not built with recycled materials. The difficult ascent illustrates how hard it is to start such a revolution in the industry. But when he finally reaches the top, he discovers what’s on the other side: a car that stands for a new car world – electric, digital, resourceful. Enter the new Renault 5.

As mentioned above, we have an iconic new car to present and a metaphor of this turning point in the automotive industry to convey in visuals: beyond the challenge in itself of making these points coexist, we thought this pile of wrecked cars could be a dramatic devise itself, to create suspense – so that viewers feel this is no joke.

Creating a mountain of wrecked cars 10 meters high was a challenge. It all could have been done in a studio, giving us more control over everything, but we needed to feel the harsh reality of it, the sharpness of the wrecked cars – we wanted to feel real reflections on these rusty cars. Which is why we shot EVERYTHING in natural light, and it has a clear impact on what you see on screen.

We used CGI to extend the mountain around the real structure, to add a bit of poetry and magic to this world. More than 72 Renault 3D models were used. We then had to create a specific VFX tool that allowed Lipstick, the post production company, to pile up the cars organically and calibrate the amount of damage, rust, or missing parts of cars.
 




Also for you on GoSee.News : Renault Captur – Push it to the limit. Publicis Conseil has come up with a new campaign : ‘Push it to the limit.’ These limits refer to the messages that advertisers and brands used to entice consumers to buy their cars. The commercial features a parody of car advertisements from the 70s, 80s, and 90s when cars were considered weapons of seduction, power, and ultimate coolness.

All this is done with a mischievous nod to the Renault ads of the time, as iconic models and scenes are recreated. Fans will recognize the R19 Cabriolet, the R17, the R25 Baccara, and the R21 2L Turbo among the cast. They will appreciate the visual treatment and ‘Push it to the limit’ soundtrack borrowed from the iconic 80s film Scarface.

While the brand shows that it has come to terms with its past, it also proves that it has evolved and is able to respond to the concerns of our day and age. The transition to the present is made by zooming out to reveal a sculpture made from old television screens. The new Renault Captur drives past it and continues on its way – signifying that it has left the past behind it. The modernity of the camera shots reflects the modern design of the Renault Captur – highlighting the benefits of the E-Tech full hybrid engine: it saves up to 40% fuel, can be driven electrically up to 80% of the time and has a range of up to 1000 km. 
 






CREDITS ‘Renault Captur – Push it to the limit’
Marco Venturelli Chief Executive Officer & Chief Creative Officer
Marcelo Vergara Directeur de création
Clément Palouzier Directeur Artistique
Antoine Querolle Concepteur-Rédacteur



CREDITS ‘R5volution is a French thing’
Arnaud Belloni Global Chief Marketing Officer Renault
Laurent Aliphat VP, Renault Brand Content Creation
Hortense Isnard Car Models Content Creation Director Renault

Agathe Bousquet France President Publicis France
Marco Venturelli Publicis France
Publicis Conseil Chief Creative Officer
Chief Executive Officer
Marcelo Vergara Publicis Conseil Worldwide Creative Director
Antoine Querolle Publicis Conseil Copywriter
Clément Palouzier Publicis Conseil Art Director
Sarah Bouadjera Publicis Conseil TV Producer
Philippe Martin-Davies Publicis Conseil Global Strategy Director
Nicolas Izel Publicis Conseil Channel Planner
Hugues Reboul Publicis Conseil Global Client Lead
Grégoire Verdet, Faustine Leblan, Mathilde Ferail, Agathe Morandeau Publicis Conseil Client Lead
Caroline Petruccelli Publicis Conseil Head of Agency Production
Hugo Diaz Henry Producer
Sebastian Strasser Henry Director
Renaud Jaget Henry Line Producer
Joost Van Gelder, Julian Hohndorf, Sebastian Blenkov Henry DOP
Polo Luisetti La Casa Film Executive Poducer
Tirso Diaz La Casa Film 1st Assistant
Lucie Gardes Henry Production Coordinator
Clément Pignal Henry Post Production
Raimbaut Gaffier, Benjamin Cathala Prodigious Post Production
Stefan Susemihl Lipstick Berlin Executive Producer
Madlen Folk Lipstick Berlin VFX Producer
Patrick Bennar Everest Paris Supervisor SFX on set
Walter Mauriot Everest Paris Editor
Alex Jaffray Start-Rec COO
Emiliano Serantoni Everest Paris Colorist
Arthur Lequime / Mathieu François Start-Rec Audio producers
Donatienne de Montety Start-Rec Business Affairs


See it all on publicisconseil.fr
 
06.06.2024 show complete article

 

GoSee Creatives to Watch : Mahmoud Fathy, Creative Director Art & Design Berlin, in an interview about getting creative to design new worlds, AI as a medium and not as an idea, Egyptian design, and art censorship in Berlin

We are delighted to present Mahmoud Fathy, a Creative Director Art & Design, here on GoSee, who looks back on more than 18 years of experience in advertising and branding (main focus: transportation). He is an expert when it comes to creating and developing visual concepts for brands and campaigns. Over the course of his career, Mahmoud has already worked in different regional markets, including SWANA, Europe, Latin America, and Chinacollaborating with global clients such as Volkswagen, Audi, Mercedes-Ben, Sony, Ikea, McDonald’s, and Cadbury.

His last career step was as Head of Design at DDB Berlin, where he was instrumental in shaping the visual identity of Volkswagen. This includes testing and defining the look and feel, i.e., style of imagery, for Volkswagen in the Chinese market after it had successfully been created and applied in Europe. As a result, the look and feel saw a global refresh. (photographer was GoSee Member UWE DUETTMANN). His simpatico motto: keep smiling and carry on.

Here on GoSee, he tells us about his work as a creative, the challenges freelance work brings with it, how he uses AI, his hometown Cairo – and the exciting topic of censorship, which is said to even exist in Berlin.

GoSee : How did you become a creative director, and why is it the best job in the world to you? Mahmoud : Well, growing up in Cairo, I was always fascinated by the mix of history and culture around me; from ancient Pharaohs, to Coptic and Islamic cultural influences, or even that of modern-day Cairo. It got me hooked on art and design as I love the way each individual era has its own imagery. I studied art, interior design and set design because I loved the idea of creating something entirely unique and never before seen. I started my career as a visual and graphic designer in branding and gradually worked my way up to the position of creative director in the advertising industry.

Being a creative director lets me blend everything I’ve learned over the years to create brand new visual worlds. It’s like solving a puzzle, finding the perfect way to tell a story in a fresh, contemporary unseen way.

Please tell us a bit about your projects at the moment. Right now, I’m working on a personal project that explores storytelling using visuals alone to make it more universal. I am also experimenting with finding new and different visuals built with the ‘imagination’ of AI using simple prompts, and I build my work over it. Like collaborating with a new member on my team. It’s still the early days of the project, so I’m excited to see where it goes. The commercial market is a bit slow at the moment, which gives me a little extra time to focus on this experiment.

You have just worked on a new project with Lena Gercke. She is known for her fashion label, among other things, and she is launching her own perfume with Coty. Can you tell us about the project and your experience? I was lucky to team up with my friends Bruno Damião and Tiffany Chung at VML on this project, along with Lena Gercke and the Coty team. Exploring the perfume and cosmetics world has been a wonderful experience, and this has been my first time experimenting with AI to make visualizing, creating and editing easier, especially for things like mood boards and storyboards. It perfectly aligned with our vision of creating a fresh world around the product and Lena Gercke, thanks to how well the creative minds at VML ‘collaborated’ with AI technology.

What are your personal experiences with AI? You wrote, “AI is the medium and not the idea. With it, I can expand the way I express visually, but it won’t be the visual concept itself.” AI is a powerful tool. When it comes to visual AI, it’s like the invention of photography in the 19th century. Many people got excited about photography and started hiring photographers instead of painters to create their images and make them look nicer. With the invention of digital photography, we got excited again, and we shifted from editing photos in labs to using editing software. Now, with AI, we can simply tell it what we want to create or change, and it does it for us. However, we still need to use our knowledge and trained eye to ensure AI does exactly what we want. Everyone has a camera on their phone, but not everyone has a photographer’s eye.

Regarding AI for writing, I find it very impressive. I even used it to help me formulate this article in an easy-to-understand way. It doesn’t create my ideas, but it helps me to organize my messy thoughts. For me, AI is a helpful tool and occasionally surprises us with its creations. What matter most are the emotions we want to deliver, not how we have created them. In my experience with car photography, I can tell you this much: if we have a great look and feel, its not good because the car was rendered in GCI – we like it because the image looks natural and well-composed.

Your roots are in Cairo. Are you connected with the creative scene in Egypt? Is it possible to be creative there at the moment, or is censorship an issue? A few years ago, there was a vibrant creative scene. Do you still hear a lot about it today? Yes, I grew up in downtown Cairo and am still connected with a few colleagues from the creative scene, whether they have remained in Cairo or moved elsewhere. Cairo has a very vibrant creative community. Despite the political challenges, the creative scene keeps thriving.

Oddly enough, the only time I have experienced censorship was in Berlin. I was collaborating with a queer Egyptian artist named Mohammad Shawky Hassan on a group exhibition called ‘A Home for Something Unknown’ at Haus am Lützowplatz. Our work consisted of a queer reading of Egyptian and Lebanese TV talkshows. We designed a room with walls covered in Arabic typography displaying the names of the shows or phrases that were made popular through them in Arabic. However, the Arabic text on the walls was censored by the gallery. They told us that it required an English or German translation, and they rejected our proposal even before we had a chance to talk about the work.

From our perspective, people needed to experience the room surrounded by Arabic letters, and the work itself (like most of Hassan’s work) played with the very idea of untranslatability. They were probably worried that we would write a pro Palestinian statement on the walls, so they refused the whole idea and blamed it later on time and budget.

I’m not saying there is no censorship in journalism and art in Cairo, but we are wrong when we think that Germany is free of censorship. In the advertising field, your ideas are also always subjected to censorship; by the marketing team, social media numbers, and feedback – no matter where you live. In the end, censorship can actually enhance creativity, as it forces you to explore what you want to say in a very different way. A creative constraint.

You switched from the agency side to freelancing. What challenges do you face working as a freelance creative today, and what are the perks of not being on the payroll of an agency?
Switching from the agency side to freelancing is both challenging and rewarding. One of the main challenges is the inconsistency of work. Unlike an agency, I have to constantly hunt for new projects, which takes a lot of time and effort. All the administrative tasks, like invoicing, planning and maintaining your network, can also become overwhelming. Plus, there’s no steady paycheck, so financial stability can be a concern during slow periods.

However, freelancing does indeed have many benefits. The flexibility is great. I can choose my projects and plan my own schedule, which has a positive effect on my work-life balance. I also get to work on a variety of personal projects, which keeps things interesting and helps me sharpen my skills. Being my own boss is quite fulfilling because it gives me full control of my creative process and decisions. Up until now, I prefer to work freelance because the flexibility, variety of projects, and freedom are more rewarding than any challenges there may be. However, I have been working freelance for the second year now, and I am thinking about taking a moment to reflect once I have finished the third.

With Studio Fathy, you craft fashion items and designs inspired by the rich cultural heritage and influences of Arabic, Egypt, and Cairo, with a modern twist. Can you tell us a bit more about your creative process and the unique fusion of traditional and contemporary influences in your work? When I moved to Germany, I noticed a one-dimensional view of Arabic and Egyptian designs. Which made me wonder why it is so different from what I’m used to experiencing in Cairo. It inspired me to start Studio Fathy, a space for all my creative projects, especially non-commercial designs. I aim to show my cultural background while experimenting with new ideas.

To start with, I revisited some of my old work to see how I can build upon it. Studio Fathy is the umbrella for all my creations and collaborations with other artists, aiming to create contemporary pieces that may not be to everyone’s taste, but that’s okay.

What lessons can we learn from Egyptian culture? Is there an Egyptian way of life? Egyptian culture is very diverse, depending on where you live. During my time in Cairo, I was able to experience the multilayered history, traditions, and social dynamics of the country first-hand, and I learned to embrace cultural fusion, mixing and matching different aspects to create a style of my very own. I also learned the importance of engaging with others and enjoying the buzz of the city on the bustling streets of Cairo. So there’s not one distinctive Egyptian way of life. My own words to live by: keep smiling and carry on. You can’t please everyone, so you might as well stay positive, keep moving and, by all means, be loud.

If I book you as a freelance creative director for a project, what can I expect? What skills do you bring to the table, and how do you choose creatives, photographers, and directors for collaborations? If you book me as a freelance CD, you can expect a tailored approach that truly connects with your audience. I pay close attention to every detail to ensure the visual language fits the brand personality, target audience, and up-to-the-minute trends. I handle projects intelligently to keep costs and budget low while maintaining a polished brand look and feel.

As for choosing my creative partners, I look for individuals who can shake things up, contribute fresh ideas, and are not just going to nod along with everything. I enjoy working with people who challenge my own ideas and are not afraid of trying new things.

I’m excited about the future and continuing to push creative boundaries. If there’s one thing I’ve learned, it is to always stay curious and open to new ideas. I appreciate the support, and I am looking forward to collaborating with more great talent around the world.

We have a selection of his work for you here on GoSee – and to see further projects and campaigns by Mahmoud, simply follow the link below. Yes, in case you are wondering, Mahmoud is also fluent in German.

GoSee : mahmoud-fathy.com
 
05.06.2024 show complete article

 

GoSee CREATIVES TO WATCH : Meredith Braden Bucher, Creative Lead at ZALANDO STUDIOS, on her work at Zalando plus a few creative highlights

Meredith Braden Bucher is a multidisciplinary creative with 12+ years of experience in working with top brands such Nike, Lacoste, Calvin Klein, and Estée Lauder in the areas of fashion, beauty, travel, and lifestyle. At the moment, she is working as the Creative Lead at Zalando’s integrated full-service creative agency. ZALANDO, Europe’s leading online fashion platform with more than 50 million active customers across 26 markets, has entrusted Meredith, with her vast expertise, to head its multidisciplinary creative teams. She develops and realizes 360° marketing strategies and campaigns for global partner brands. Campaigns spanning various channels including the Zalando website, print and DOOH, social media (TikTok, Snapchat, Meta), events, influencer marketing, editorial partnerships, and further paid media placements.

GoSee : The VERSACE JEANS COUTURE campaign by Zalando is an absolute eye-catcher. Please tell us more about it. Meredith : This was my fourth campaign with the Versace team and certainly my favorite (being from Texas, I just love all the Western trends at the moment!). I creative directed this particular concept from Margo Maró, who is a talented art director on our Brand Campaigns team at Zalando Studios. It was such a fun project and killer team; we had a blast working on it from start to finish!

What exactly is your job as creative lead @Zalando Studios? How big is your team, and what are your daily challenges and highlights? My role includes managing a team of art directors, creative directing campaigns, managing key brand accounts, and working as a creative on brand campaigns at Zalando. Our Brand Campaigns team has grown to about 20 members, and we almost exclusively work on partner brand campaigns at Zalando (Calvin Klein, Nike, Lacoste, Estée Lauder, etc.). Given the quantity of work we’re responsible for, capacity is always a challenge, but it’s very rewarding to be able to work across a portfolio of some of the world’s most recognized and respected fashion brands.

Zalando Studios is the creative production hub at Zalando? Yes. There are several creative teams under the Zalando Studios umbrella. Our team, in particular, has always partnered closely with ZMS (Zalando Marketing Services), and we act as an internal agency for brand campaigns on Zalando.

Do you have a particular highlight that you would like to show us? A recent highlight for me was the campaign-turned-music-video we did for Nike, starring German rapper Badmómzjay. We teamed up to visualize her new track ‘Levels’ in full Nike gear – fiercely blending music, style & movement in a metaphor of what moves her. I enjoy pushing format boundaries and playing with what a campaign can actually be. It’s always nice to shake things up a bit.
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How exactly do you begin with the visual artwork for your campaigns, and when does the creative process start? Projects and their structure vary greatly depending on the brief, brand and budget. Some of our campaigns are small and purely visual concepts executed in just a couple months. Others span over half a year and involve several teams including Strategy, Consumer Insights/Interviews, facilitating brand workshops and ample pre-work before we even get into concept development. So sometimes, the campaign is the final piece of a much longer strategic initiative we’ve worked on for the brand.

Say, for instance, you’re producing a campaign for VERSACE COUTURE. What does collaborating with the brand and their marketing team look like? Do you have strict guidelines here, do you work out the ideas together, or do you have complete creative freedom when it comes to execution? Processes and preferred ways of working vary depending on the brand, but we always collaborate closely with their internal marketing and creative teams to ensure our concepts are aligned with their global creative direction and upcoming initiatives.

Does it ever happen that a brand says something like: “Wow, your Zalando campaign for our brand is amazing, we would also like to show it as our own campaign?” Yes! Brands often use our campaign assets on their own channels and work with us as they would with any other agency.

How do you put your teams together? Once we have an approved concept, we work closely with our production team to assemble the best creative team to bring our ideas to life.

Where can people see your creations? Most of our campaigns run on paid digital media placements, so they’re kind of hard to find in the wild if we don’t have any OOH media. Maybe you’ll be targeted if you’re in our target audience :)

Who are your target audiences, and how do you reach them? Our target audiences vary depending on the brief, but a large part, the majority even, of our work speaks to millennials and Gen Z.

Which campaign do you like to think back to, and which was the craziest/most creative? One of my favorites was a Pride campaign we did with GAP in 2022 where we handed over our platform to three filmmakers within the Berlin LGBTQIA+ community. We allocated the majority of our campaign budget to support them in producing films that shared their interpretation of GAP’s core belief: The freedom to be yourself is the most profound form of joy. The films were showcased on ZALANDO and also across best-in-culture video platform NOWNESS with a homepage takeover as well as a buzzy Berlin launch event. I’m still proud of this because it had a lasting, positive impact on the artists we worked with, genuinely engaged the Berlin LGBTQIA+ community – while giving valuable stories a platform. Over a year later, our directors were still receiving awards/accolades for their films. 




Is it possible to book Braden.Studio as a freelance CD? Yes, I have been freelancing for brands in the fashion, travel and lifestyle space for over 12 years and am always happy to hear about new projects :)

Can you tell us a bit about your background? Before you came to Berlin, you were responsible for visual identity at Neiman Marcus in New York. How did you end up in Berlin and at Zalando? Do you have any personal creative highlights in the city to share? I’ve been in Berlin for nearly nine years now, having previously worked as Brand Designer at Neiman Marcus, which is actually headquartered in Dallas, Texas (also my hometown). I started freelancing at Zalando over six years ago and eventually became a full-time employee. Berlin is such a rich and inspiring place if you’re in the creative industry. My job has enabled me to work with so many talented artists – both in and out of Zalando. It’s really a small world and such a pleasure to continually collaborate with people over the course of so many years. The city has always been a cultural leader, and I think the work coming out of Berlin proves it again and again.

 
29.05.2024 show complete article