France’s Volume Leader in Perfume, Adopt Parfums, Scales with Fantasmagorie and Higgsfield

The challenge

Fantasmagorie is accustomed to making difficult ideas physical. The Paris creative agency has built a 40 m² set and a fake prison for productions by French creator Squeezie. For the closing ceremony of the Paris 2024 Olympics, the team made a piano fly. Its work traditionally combines direction, set construction, scenography and live-action production, all handled from the agency’s Paris offices and workshops.

For a campaign film, Fantasmagorie’s default approach had always been a live-action shoot. Even pre-production ran on borrowed images: reference moodboards assembled from existing films, sometimes combining the lighting of one with the framing of another. Building a proper storyboard that way could take several days.

The idea

For the launch of Adopt Parfums’ mini brumes, Fantasmagorie built “Don’t Touch My Mini” around a familiar problem: lend someone an Adopt fragrance and it may never come back.

The campaign began with mini brumes disappearing from packages sent to creators. Adopt responded by activating a fictional crisis unit called Code Rose and securing the remaining deliveries in safes. The story unfolded across a main film and several shorter social pieces, turning the product launch into a serial rather than a conventional announcement.

Fantasmagorie produced the campaign without a live shoot. The agency developed the concept internally and carried it from writing and storyboarding through visual generation, editing, sound design and music.

Caption: A short piece from the wider “Don’t Touch My Mini” campaign turns the familiar experience of lending someone a fragrance into part of the story.

How it was built

Fantasmagorie wrote and storyboarded the film, then created its image and video material on Higgsfield. The agency assembled the generated material into the final edit and completed the sound design and music in-house.

The complete process took three to four weeks from writing to final delivery. There were no shoot days and no separately produced live-action footage in the finished campaign. Several shorter pieces for the wider social launch were created through the same workflow.

The workflow now extends to Fantasmagorie’s live-action projects. The agency uses generated storyboards before a shoot to explore compositions and show clients what the intended film could look like. These storyboards have partially replaced the reference moodboards previously assembled from existing films.

The products

Higgsfield was the production platform for the campaign, with Higgsfield Canvas providing the working environment for image and video generation. Inside Higgsfield, Fantasmagorie used Nano Banana Pro, FLUX.2 and GPT Image 2 to create the campaign’s images, then Seedance 2.0 to generate video. The team could move between these capabilities within the same Higgsfield workflow instead of dividing the production across separate tools.

The result

Fantasmagorie completed the campaign in three to four weeks, including writing, storyboarding, visual production, editing, sound design and music. The studio estimates that producing the same concept through live action would have added weeks, potentially months, to the schedule.

The campaign reached 2 million views within 48 hours without paid promotion, according to Fantasmagorie. French advertising publications also covered their story.

The project gave Fantasmagorie a way to carry its existing production model into a campaign without a physical set. The agency still developed the concept, directed the visual language and completed the work in-house. What changed was the range of ideas it could test before production constraints began narrowing them.