Creative consulting firm Mazarine is active in every aspect of luxury and fashion, from advertising and content creation to technology solutions, design and packaging, event organizing, media and art.
For its inaugural exhibition during the FIAC art fair in October, the foundation paired American artist Rashid Johnson with Kenny Dunkan, an artist from the island of Guadeloupe in the French West Indies, in a mentorship system that will be a blueprint for the project going forward.
Reiffers told WWD how the agency has been coping with the disruption caused by the coronavirus pandemic, why he believes in international expansion, and how he’s betting on a combination of strong sector expertise with a holistic approach to come out on top.Paul-Emmanuel Reiffers:After a period of shock of one month, when everyone was frozen, we quickly regrouped, because we’re entrepreneurs at heart and I’ve always been taught that it’s during periods of crisis that you build the future.
Thirdly, we’ve reorganized the management of the group. We’re integrating more people that work across divisions in order to create synergies. Today, it’s no longer about doing just events, or just digital. Brands require a global offer. They want to save time and deal with someone who handles media, content creation and event production, all at the same time.
Our U.S. subsidiary was focused essentially on event production — for instance, working with Audemars Piguet on all their art events — and during confinement, it pivoted into a content production agency, producing campaigns, films and so forth. I love that about Americans, this capacity for very rapid transformation. It’s been hugely successful, because last year we had our biggest year to date.
You have to be big, but not too big. Brands don’t want to deal with huge teams, but the agency has to be large enough to support increasingly ambitious projects. So I really believe in joining forces with agencies that have their own expertise, but all live under the same roof.We have a long-term vision and so empirically, we’ve bought companies and kept on people.
It’s always a very delicate exercise to put the spotlight on anyone but the designer, and we’ve run into trouble in the past. When we produced the Yves Saint Laurent show for the soccer World Cup final [in 1998], it created a lot of bad blood with other brands.WWD: How do you see events organization evolving?There will be some big events to generate buzz on social media, but more and more, there will be smaller events geared towards local audiences. That’s what I’m seeing everywhere today.
Our Paris office accounts for 70 percent of revenues, but the U.S. and China are growing fast. We have established the foundations there, and now we have to build on them. I don’t consider myself a communications agency, I mean, we’re not advertisers. We’re like a luxury services brand for luxury brands, so having a magazine like Numéro that manages the biggest creatives, that has access to the top photographers and that is focused on this world, is one of the things that set us apart.
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