INDEPENDENT CREATIVE WORLD / BDK COLLECTION PARISIENNE
I’m not fluent in French. These translations are my best effort. The case study stays in English.
A French film with a place for you.Collection Parisienne becomes a series of stories you can enter. 312 Saint-Honoré is the starting point.
I want you to feel inside a French film. Each fragrance in Collection Parisienne gives the proposed series a different setting. Your opening scene begins at 312 Saint-Honoré, then follows a story into the city.
SEE YOUR FILM ↓
One more
scene.
PROPOSED CAMPAIGN STILL / FRANCE AUDIENCE BRIEF / ORIGINAL NARRATIVE
THE OPPORTUNITY I SAW
Collection Parisienne already gives its perfumes stories rooted in the city. I would turn those beginnings into a wider film series, with a different short film for each fragrance. This campaign focuses entirely on that collection. 312 Saint-Honoré is the anchor, connecting your first scene to the house’s flagship.
A beautiful street alone could advertise almost anything. You need a role in what happens there. The opening concept shows how a visitor could shape a fictional scene of their own, while the sample films give each perfume a particular encounter. The script pages lead back into that world.
Hold the bottle
until the last frame.
Let dialogue and a small action carry the film. The fragrance signs it at the end.
312 SAINT-HONORÉ / YOUR OPENING SCENE
312 Saint-Honoré celebrates BDK’s first boutique. The fragrance takes inspiration from its glass and concrete. White Burgundy stone is another reference from the space. That connection makes the address a natural starting point for this proposed film series.
The preview below imagines one visitor’s opening scene. Their choices give it a direction. It begins at 312, with an evening ahead of them. A proposed boutique visit would offer a chance to try the fragrance after the story.
The part
is yours.
A PERSONAL SCENE / CONCEPT PREVIEW
You choose the pace of the evening and what happens when your plans change. A short scene takes shape around those decisions. This example follows someone who leaves a little time for a detour.
INT. 312 SAINT-HONORÉ. EARLY EVENING.
You came in for a sample. The glass door closes behind you, and for a moment you forget the appointment you were rushing toward.
Outside, someone is playing the piano above the street. You could call a cab. Instead, you turn the corner and listen until the last note.
Your phone lights up. ‘Where are you?’ You type, ‘On my way.’ Then put it back in your pocket.
THREE EXAMPLES FROM THE SERIES
Each sample takes its own pace. Gris Charnel waits for a glance. Rouge Smoking follows the decision to stay for the music. In Pas ce Soir, a question written after a film leaves tomorrow open. Each holds its bottle until the final frame.
SAMPLE FILM / GRIS CHARNEL
She leaves an excuse to be found. The camera waits with her, in cool shadows beside the Seine. When the other woman catches up, neither rushes to leave.
GRIS CHARNEL / COOL SHADOWS. LET THE FRAME HOLD.
She reads the message again.
“I’m still here.”
Her coat stays on the chair.
She leaves it there on purpose.
The other woman catches up.
“You forgot your coat.” “I know.”
GRIS CHARNELOne more scene.
The bottle appears here.
Five seconds to sign the film.
SAMPLE FILM / ROUGE SMOKING
Dinner runs late. At the taxi, she hears the invitation and closes the door herself. The camera stays close, then moves with them as they head back toward the music.
ROUGE SMOKING / CLOSE ENOUGH TO CATCH THE GESTURE. CUT WITH THE MOVEMENT.
Dinner runs late.
They let the conversation continue.
She opens the taxi door.
He asks, “One more song?”
She closes the door.
They walk back toward the music.
ROUGE SMOKINGOne more scene.
The bottle appears here.
The decision has already been made.
SAMPLE FILM / PAS CE SOIR
The credits finish. She turns the programme over and writes a question. He adds a time. They can leave the next scene for tomorrow.
PAS CE SOIR / FOLLOW THE LOOK TO THE PAGE. LET THE ANSWER ARRIVE IN INK.
The credits end.
Neither gets up yet.
She writes, “Tomorrow?”
He adds, “After eight.”
She keeps the page.
They take different streets.
PAS CE SOIROne more scene.
The bottle signs the film.
Their next scene is still unwritten.
These are samples from the proposed sixty-second film series. A commissioned director would work through the gestures with the actors. A glance should feel unplanned. The wider programme would give each Collection Parisienne fragrance its own story.
SCRIPTS IN THE STREET
The poster borrows the film’s page, including the moment someone makes a decision. It directs readers to the story page. For a Paris pilot, these belong on booked poster sites and inside participating venues.
EXT. CAFÉ STREET. NIGHT.
She leaves her coat on a chair. Then walks away, slowly enough to be caught.
THE OTHER WOMAN
You forgot your coat.
SHE
I know.
They stay together. The cold can wait.
EXT. PIGALLE. NIGHT.
Dinner is over. A taxi arrives. She opens the door, then hears his voice behind her.
HE
One more song?
She closes the door. The taxi leaves. She takes his hand and walks back toward the music.
INT. CINEMA. AFTER THE FILM.
The credits finish. Neither gets up. She turns the programme over and writes a question.
SHE WRITES
Tomorrow?
HE ADDS
After eight.
She folds the page and keeps it. Outside, they take different streets.
The QR placement shows how a printed script could lead into a visitor’s 312 scene and the sample film paths. Fragrance information follows the scene, keeping the invitation focused on taking part in a French film.
Late-night scenes can run in the film and the phone experience. The outdoor plan uses booked, approved poster sites. Any illuminated placement would follow local operating hours.
THE WORKING STORY PROTOTYPE
This branch shows another way to enter the Collection Parisienne stories. Your decisions change the ending and lead to a fragrance from that collection. The wider series would give each perfume its own route. These paths show the narrative approach, with no claim to predict your scent preferences.
One more
scene.
First scene. Choose your decision.
The waiter takes your glass. Outside, a taxi slows down. You have time to change your mind.
The passport follows the film’s fictional settings. A partner screening could add a stamp. The plan connects scenes, without giving real travel directions or opening times.
Places in one night.
NIGHT PASSPORT
A message goes unanswered. The scene starts here.
FRANCE FIRST, THEN THE US
I would test two audience briefs. In France, the campaign asks people familiar with Paris to notice an unfinished moment in it. For US visitors who imagine a romantic trip, the invitation begins after their planned evening ends.
Those are working audience hypotheses. A Paris screening and a separate US copy test would show where the language feels forced.
One more
scene.
Your table is booked.
The night is open.
The French poster starts with the scene and leaves its explanation to the story. On US travel placements, the copy offers a clear way in: a film to watch before arrival and a pocket story to take into the city.
English creative runs in US placements. French placements use the French edition, including readable campaign information. The market changes the entry point, with the same characters and art direction underneath.
A FIRST VERSION WORTH MAKING
I would test a polished 312 scene concept alongside one finished sample film and a booked screening at one cultural venue. Visitors could continue into a proposed boutique discovery. This first version tests the way people enter the story before producing the wider Collection Parisienne series.
The Air France chapter comes later. It needs a separate partner agreement and an arrival handoff that travellers can actually find. The first screening can test the narrative without depending on either.
A polished 312 opening-scene concept and one finished sixty-second sample film, supported by its printed script. The first screening tests a small part of the wider programme.
French copy with the Paris audience. A separate English invitation for prospective US travellers. Ask whether the concept made them feel part of the film, then whether they want to try 312 Saint-Honoré.
Read responses to the 312 scene concept and the sample film, followed by optional boutique discovery. Keep the two audience groups separate. Set conversion goals after a baseline exists.
Visitors connect the scene with 312 Saint-Honoré and want to explore another Collection Parisienne story. An airline extension also needs a clear arrival handoff. No campaign results are claimed here.
PROPOSED EXTENSION / BDK × AIR FRANCE
Air France could introduce the Collection Parisienne film series while someone is travelling to Paris. The 312 opening scene gives the traveller a part in it, then a reason to continue after arrival. This proposed extension would offer films and a discovery edition on selected US-to-Paris journeys, with a French invitation for returning travellers.
Air France already has amenity partnerships, including Sisley and Clarins. This proposal is a separate, optional arrival offer. It does not replace those kits.
×
The next scene.
After arrival.
THE JOURNEY EDITION
The proposed airline edition offers a choice from the wider film series while Paris is still ahead of you. A lounge screening could introduce a sample film before departure. The arrival sleeve continues into a proposed 312 scene and a fragrance discovery later, away from the cabin.
Cinema / A Paris collectionA coat left behind on purpose gives two women a reason to meet again.
View the film treatment ↗Gris CharnelProposed lounge screening invitation
The coat. One sample from the Collection Parisienne film series, followed by an invitation to enter your own scene.
×SCENE BOOKMARKNEW YORK → PARIS
An optional story bookmark added to the proposed journey invitation. It leads into a 312 opening scene. After arrival, you could choose to try 312 Saint-Honoré at a BDK discovery rendezvous.
Scan to beginyour scene.
AFTER ARRIVAL / OPTIONAL RENDEZVOUS
A visitor who wants to continue could choose a boutique discovery appointment. Their imagined opening scene at 312 gives the visit a starting point, with an option to try 312 Saint-Honoré on skin and explore the rest of Collection Parisienne. The sleeve stays sealed until that visit or a private moment after arrival.
This is an appointment concept for an agreed partner pilot. No flight details, booking requests or personal information are collected on this page.
A US travel placement introduces the film series. The traveller could begin their 312 scene before arriving. A French return edition begins with coming back to the city.
A proposed entertainment placement offers a choice from the Collection Parisienne film series. The sample treatments show its direction. The discovery sleeve stays sealed, with no cabin fragrance.
An agreed collection point would supply the story passport and sealed samples. The 312 scene leads to an optional boutique discovery, with an opportunity to try 312 Saint-Honoré.
The small guide becomes a record of the evening. A product page can explain the fragrance properly when the reader wants to return to it.
RESEARCH & AUTHORSHIP
Independent campaign concept, art direction and original narrative by Priscilla Rios. All proposed films, placements and collaborations are speculative.