Room 1

The first age of Citroën advertising

Room 1 tells the story of the "André Citroën era‚” between 1919 and 1935. Entitled “oser et s’exposer" (to dare and to show), it illustrates the founder’s strategy, as implemented by the well-known trio, Pierre Louys, the Wallace agency and the printer Draeger. Their tactics were simple: to organise special events occupying all possible niches of communication and to invent new media.

Press advertising, for example, was used extensively by Citroën. High-quality standardised publishing material (brochures, leaflets, posters, signs, etc.) was also made available to the network. An idea which, although less sensational than the Eiffel Tower coup, was nevertheless an innovation at the time.

Room 2

Citroën advertising takes to the road

Room 2 is dedicated to the Marque’s expeditions, and notably the Croisière Noire. Through the scientific papers written by the specialists taking part in the missions, the films brought back, the exhibitions and conferences organised, the name of Citroën was heard in all segments of society. André Citroën used these expeditions to maximum effect. They provided the basis for dozens of publications.

Souvenirs were produced and sold.

Dealers were encouraged to use these promotional tools.

Room 3

Service included

Room 3 displays the last concepts developed by André Citroën up to the takeover by Michelin, notably the reconstruction of the Javel plant and the launch of the Traction Avant in 1934.

In 1927, he laid the foundations for what was to officially become " Citroën Service" in 1951. Citroën made the customer the focus of attention. Detailed procedures were put in place. A customer should be Welcomed by a clerk in a white coat. He should be able to wait for his car, if he so wishes, in a waiting room. Here, he may leaf through technical publications, read about the Marque’s expeditions, or be tempted to test drive a new model or buy a toy.

Room 4

Innovation in technology and graphics

Room 4 looks at Claude Puech, the man in charge of the launch of the DS in  1955. Puech considered advertising to be “cultural act”. He introduced Robert Delpire to Pierre Bercot, chairman of Citroën. A productive partnership that began with the “Double Chevron", first published in May 1960.

Calling upon photographers, illustrators, painters and typographers, Puech and Delpire produced brochures whose approach to product and image combined technical rigour with eye-catching flamboyance. It was at this time that Jacques Wolgensinger set up Citroën’s information and public relations department.

Adverts aimed at children date back to the 1920s: here, life-sized toys.

Two painted metal DS.

Room 5

Forward Citroën!

Room 5 covers the period 1970-1990, when Jacques Séguéla high-lighted the qualities of imagination that were not developed by the vehicles themselves. The head of RSCG called in poster designer Savignac. His drawings of the “little man with the chevrons” would be used for four years up to "The wild chevrons", the corporate film made by Richard Raynal.

Room 6

Now you can imagine....

The last illustrious period of Citroën history is on show in room 6. This section looks at the arrival of Jean-Martin Folz, chairman of PSA Peugeot Citroën, and Claude Satinet, managing director of the Marque. By associating the name of Picasso with the name of Citroën, the Marque is showing its founders talent for innovation in communications.

Interview

Réjane Bargiel

is curator at the advertising museum and commissioner of the exhibition 'Sens de la visite', which tells the story of 80 years of Citroën advertising.

Double Chevron: What made the advertising museum decide to organise an exhibition dedicated to Citroën?

Réjane Bargiel: Because the saga of Citroën advertising is exceptional in terms of its longevity and diversity as well as its quality and originality. For collectors and advertising enthusiasts, Citroën offers a fantastic wealth of documents, concepts and tales. For the general public, Citroën advertising remains first and foremost associated with the personality of Jacques Séguéla and the golden age of the 1980s. Everybody remembers the spectacular ads made at this time and the advertising formulas such as the “wild chevrons". Jean-Paul Goude's films with Grace Jones are viewed as classics in French advertising, in the same way that “The Big Blue" or “Diva” are cinema classics.

DC: This isn't the first time you've paid tribute to Citroën?

RB: The first exhibition took place in 1926. The museum of decorative arts exhibited 673 ritual and domestic objects, with photographs and drawings of the Croisière Noire brought back by Alexandre Lacovleff.
The second event took place in 1965, when the museum of decorative arts organised an exhibition entitled: “Citroën, graphic arts and publicity". This event was put together by Robert Delpire, a key figure in 1960s advertising. This is the third exhibition.

DC: Advertising has changed considerably. Do you regret the past at all?

RB: Robert Delpire foresaw a change in objectives and methods, notably with respect to the decision-making circuit. He predicted that the experimental, amateur style of advertising would disappear for good.
It's true that constraints have become so strict that you often lose in originality what you gain in efficiency and impact. However, by linking Picasso with a car, Citroën has proved that it still dares to be different.

DC: But not everybody liked the idea...

RB: No, and that's so much the better. When Citroën comes up with new ideas, everybody talks about it. It's the sort of thing that André Citroën might have done. He liked unusual associations. Citroën has always had a talent for getting itself noticed in spheres that are not necessarily related to the car.

DC: Which exhibit do you prefer?

RB: The large statue of a Mangbetu woman, displayed in the introductory area, and which was first shown in the 1926 exhibition. Citroën used it as a communications symbol during the Croisière Noire. It was a revelation for the public at the time. It even gave rise to a new fashion trend among women wanting to wear the same style of hat. This statue reminds me of the two “mutant” heads of Grace Jones, the black artiste who featured in Jean-Paul Goude's films on the CX.
I also particularly like the original watercolours by Lacovleff, the official painter of Citroën expeditions, which were loaned by the daughter of Louis Audouin-Dubreuil. We have a number of extremely rare posters, some of which I believe to be unique as regards their excellent condition. For example, the poster for the film on the Croisière Noire.