From Football Breaks with Hugh Jackman to Transforming Brands, Matthieu Elkaim on Creative Risk

An Economics graduate, Matthieu decided to interrupt his university studies for his first training period at Publicis when he was 18 years old. 18 years later, in 2018, he joined Ogilvy Paris as CCO and became president in 2020, in full lockdown due to a small international health crisis called Covid 19.

Passionate about advertising, he loves ‘game changer’ ideas, innovative approaches and risk-taking. Like this time on a shoot in Budapest where he dared to tackle Hugh Jackman during an improvised football break. The initiative could have been stupid, but in the end, it remains an excellent memory.

Serious fact: Matthieu has won numerous national and international awards including Cannes Lions, Eurobest, One Show, Clio, D&AD, in a wide range of categories.

He has judged at the most prestigious local and international award shows.

Fun fact: sometimes, during his spare time, Matthieu produces a feature film or a TV series with Jack n’a qu’un oeil, an independent production company he created a few years ago.

Q> Given your unique vantage point at Ogilvy Paris, how would you define the single most significant creative challenge facing brands and agencies today, and why?

Matthieu> The biggest challenge is creating work that stands out. Advertising competes with everything for attention – from trendy dinners, video games, and TV series, to TikTok and yoga sessions – making being noticed difficult and expensive. Brands must be either entertaining or useful. While few can compete with streaming platforms for entertainment, usefulness offers a credible and achievable path.

Q> The pace of change in our industry is relentless. From your perspective, what are the emerging trends or shifts that will demand the most attention from creative leaders in the next 3-5 years?

Matthieu> Authenticity is paramount in a fast-paced, often inauthentic digital landscape rife with fake news and AI 'slop.' Brands must genuinely integrate innovation and new technologies to truly stand out.

The second major trend is the shift towards new narrative formats inspired by the entertainment industry (series, films). As audiences gravitate to platforms like Netflix and YouTube over traditional ads or TV, brands must tell their stories there. This demands adapting creative processes, which are typically sped up by social media, to the longer timelines and specialized talent required for quality long-form content.

Q> Looking back at Ogilvy's rich history, how does the spirit of 'divine discontent' – constantly pushing boundaries – manifest in how Ogilvy Paris approaches these new challenges?

​Matthieu> I'm not sure that ‘divine discontent’ is very relevant today. I’m not sure it resonates well with the young generations and the talents we want to attract in our industry. We live in a world of spontaneity, responsiveness, test & learn, DIY, makers, creators… for whom to create is a matter of urgency. We have to be demanding, ambitious of course but most importantly, we need to create the good conditions to create: self-confidence, the right to try and make mistakes sometimes, to be wrong, but above all, the desire of making things that people will talk about, share, discuss. In advertising we absolutely want to be smart and clever. But sometimes, believe me, it would be beneficial to be a little more stupid and first degree. Of course, I understand what David Ogilvy wanted to convey in the last century, but sometimes the mindset of 'divine discontent' can be very intimidating and, ultimately, an obstacle. And the world has changed so much.

Q> Consumer attention spans are shrinking, and skepticism towards advertising is high. How do creatives cut through the noise and build genuine trust and connection in an increasingly fragmented and critical environment?

​Matthieu> Do less but do it better and in a useful way. Don't necessarily react to the latest trend like a sheep. Stay true to yourself. Ask yourself the following question more often: do I really need to communicate now or react to this issue? And, of course, offer a new, different, and interesting point of view.

Q> Authenticity and purpose are buzzwords, but how do you advise clients to genuinely embody these values in their creative output, rather than just performative marketing?

Matthieu> Authenticity and purpose are critical, enduring values, not just buzzwords. Brands must embody them genuinely by understanding their mission, actions, and societal role. Opportunistic brands fail long-term; true authenticity builds trust. Agencies help clients navigate complex demands for effective, culturally relevant, and unique communication through strong, trusting partnerships.

Q> The world is more polarised and sensitive than ever. How do you navigate the fine line between bold, impactful creative work and the risk of misinterpretation or alienating key audiences?

​Matthieu> It's a question of respect. Respecting our clients and the brands they entrust to us, but above all respecting the people we interact with, the audiences. A brand can no longer be naive or behave as if it were only addressing its core fans. Communication has become a political act. Brands need to understand and accept this. When I buy, I vote. So yes, communicating today is a risk. A risk that we can control and minimise as much as possible. But it remains a risk. Not communicating is an even greater risk.

Q> In an era of rapid content production and diverse platforms, how do you maintain and elevate the craft of advertising at Ogilvy Paris? What aspects of traditional craftsmanship remain vital?

Matthieu> Not every content deserves the same craft’s attention. But we must be careful, because at the end, the craft tells something about the brand. If it’s ugly, or outdated, it will ultimately have a negative impact on brand perception. We must keep in mind what our audiences are used to watch and do our best to produce content that meet their expectations. So it remains vital to work with the best production companies, directors, photographers or illustrators, but also to collaborate with content creators, AI artists…and continue to fight and explain why this sometimes deserves substantial investment.

Q> What new skills or mindsets do you believe are essential for the next generation of creatives entering the industry? How is Ogilvy Paris nurturing this talent?

Matthieu> We need creative people who are deeply rooted in their era. People who understand and can play with pop culture to connect brands with culture. Versatile creative people who understand new narrative formats, who can work on a collab one day and a documentary the next... Above all, creative people who are not obsessed with awards, but with the cultural or societal impact their creative work could have.

Q> As CCO, what keeps you up at night regarding tomorrow's creative challenges, and conversely, what excites you the most about the potential for breakthrough work?

Matthieu> What keeps me up at night is the time spent on unnecessary or subpar campaigns, merely adding to the glut of useless content. We have a responsibility. What excites me is the profound potential of creativity and brands to build a better future. There's still much impactful work to be done, and I believe 'sobriety' will be key for brands to truly thrive.