Three painted outdoor walls were combined with an equal number of objects. We picked objects that would look natural in the city landscape and attract people’s attention, decorated with hand-painted Oatly packages in anamorphic perspectives, before placing them in front of the walls.

When preparing our first campaign in France, we learned that the city of Paris only accepts murals from brands if they are ‘artistically’ made and don’t feature products or company logos. It’s important to follow the rules, we thought to ourselves, but we also wanted to give the Parisians a proper introduction to Oatly as a norm-challenging brand.

Oatly had been available in France for a while but never done a proper campaign to let people know about it – it was time to let the people of France know what kind of company Oatly is and that we had arrived.

The brief was to create a site-specific and local campaign that would reach far beyond the borders of Paris.

The campaign had two related objectives. The first was increased brand awareness, which was proven by the second objective, increased sales.

The documentation quickly became our most shared, liked, and commented posts to date, or as brands put it, the walls went viral. Sales in France boosted to 28% over the average of the preceding three months.

The footfall for the 3 murals was limited to 555,205, but our own documentation multiplied those numbers. Paid media across TikTok and Instagram amassed 18mil video views, 35mil impressions, and a 48% engagement rate. That got the organic views going across more social platforms, including Linkedin. According to the social listening tool Brandwatch, the Paris murals were seen almost 10mil times online, with over 2.8k engagements and almost 500 unique authors talking about the campaign. This resulted in a sales boost of 28% over the previous 3-month average in France.

The Paris rule of no logos or packages on commercial walls inspired a tongue-in-cheek workaround with the placed objects carrying the brand and product identifiers. The anamorphic perspectives invited audience participation in their everyday life, with a nod to French art-prankster traditions most notably performed by the Dada and Situationist movements.