Gold
Creative Strategy
Branded Entertainment
| Entrant: | McCann Paris, Paris |
| Brand: | L'Oréal Paris |
| Title: | "The Final Copy of Ilon Specht" |
| Corporate Name of Client: | L'Oréal Paris |
| Client Company: | L'Oréal Paris, Paris |
| Client Head of Global Brand Marketing: | Delphine Viguier-Hovasse |
| Client Head of Brand Marketing: | Olivier Monteil |
| Client Senior Brand Manager: | Marion Brunet |
| Media Company: | Traverse32, New York |
| Media Company CEO: | Eileen Kiernan |
| Media Company President: | Brendan Gaul |
| Media Company Managing Director: | Olivia Warren |
| Media Company EVP Global Head of Production: | Brett Henenberg |
| Media Company VP Client Services: | Alex Chodak |
| Media Company Relations: | Nicole Wool |
| Agency: | McCann Paris, Paris/McCann Worldgroup, New York |
| Agency Global Chief Executive Officer: | Daryl Lee |
| Agency CEO: | Charlotte Franceries |
| Agency Global Chief Creative Officer: | Javier Campopiano |
| Agency Chief Creative Officer: | Julien Calot |
| Agency Executive Creative Director: | Farah El Feghali |
| Agency Producer: | Thibault Blacque-Belair |
| Agency Project Manager: | Nadia Lasfar |
| Agency Creative Excellence Director: | Alice Reindlová |
| Agency Managing Partner: | Valerie Marc |
| Agency Strategy Director: | Nicolas Skouraz |
| Agency Strategic Planner: | Julie Barthoulot |
| Agency Business Director: | Anne-Sophie Carbo |
| Agency Group Account Director: | Eudes Joves |
| Agency Account Manager: | Alexia Kreutz |
| Agency EVP Head of Celebrity & Creative Partnerships: | Kimberly Kress |
| Agency EVP Head of Talen Partnerships: | Danielle Korn |
| Agency Vice President Celebrity Partnerships: | Tom Wentworth |
| Production Company: | Breakwater Studios, Los Angeles |
| Production Company CEO: | Ben Proudfoot |
| Production Company Director: | Ben Proudfoot |
| Production Company Senior Executive Producer: | Kirstin Falk |
| Production Company Producer: | Rachel Greenwald |
| Production Companies Line Producer(s): | Nicholas Ruff/Sharee Silerio |
| Production Companies Cinematographer(s): | David Feeney-Mosier/Brandon Somerhalder |
| Production Company Designer: | Brooke Granowski |
| Production Companies Editor(s): | Tim Johnson/Monica Salazar |
| Production Company Production Assistant: | Nico Paprota |
| Production Company Archival Coordinator: | Gabriel Rivera |
| Production Company Archival Researcher: | Sonia Desai Rayka |
| Production Company Archival Digitalization: | Rob macinnis |
| Production Company Hair & Make-Up: | Jade Staton |
| Post-Production Company: | Breakwater Studios, Los Angeles |
| Post-Production Companies Producer(s): | Laura Carlson/Dillon Brown |
| Post-Production Editors: | Nick Gamham Wright/Ben Liguori/Olivia Schlosstein |
| Color Company: | Breakwater Studios, Los Angeles |
| Color Company Colorist: | Stephen Derfuguian |
| Sound Design Company: | Breakwater Studios, Los Angeles |
| Sound Design Producer: | Robert Bluemke |
| Sound Design Company Sound Designer: | Katya Richardson |
| Sound Design Company Sound Engineer: | Sean Higgins |
| Sound Design Company Sound Mixer: | Tom Boykin |
Cultural Context:
In a time when feminism is both mainstream and under siege, and brands chase “purpose” with little authenticity, we didn’t need to modernize the line. We needed to rediscover it.
Our tribute was not about reinterpreting history. It was about preserving it. Not changing a single word, but finally telling the story of the woman behind them.
No script. No product. Just Ilon Specht, in her own voice, filmed before it was too late.
Premiered on International Women’s Day 2025, and streamed on TED, AMC+, and Prime Video, The Final Copy of Ilon Specht wasn’t about reviving a slogan, it was about restoring its meaning. Because L’Oréal Paris was built on a voice. And the strongest thing we could do was let her speak.
Gender inequality persists, and empowerment messaging is too often stripped of meaning. Our idea wasn’t to reinterpret the line, but to remind the world why it mattered in the first place.
A documentary, not an ad. A testimonial, not a slogan. By telling Ilon Specht’s story, filmed before it was too late, we reactivated the power behind her words. We didn’t change them. We gave them back their meaning.
We felt the shift: a backlash against feminism, a rise in masculinist discourse, and fatigue with empowerment slogans that had lost their soul. It was time to remind people that “Because I’m Worth It” wasn’t born from comfort, it was born from rebellion.
The urgency was real. Ilon Specht was 80, in fragile health, and her voice that changed beauty forever was fading. If we didn’t capture her story now, it would be lost.
So we chose not to modernize her words or repackage them. We went back to their origin, to the woman who wrote them, and let her tell her story in her own voice. This wasn’t just a tribute. It was a battle cry, preserved on film.
Launched on International Women’s Day 2025, The Final Copy of Ilon Specht premiered on Prime Video, AMC+, and became the first-ever branded content acquired by TED, known for producing only original work.
The global rollout was monumental: OOH activations in 10 countries, spanning over 1,700 screens, including iconic locations like Times Square, the London Underground, and Milan's city center.
Interactive installations in Germany, the UK, and Mexico saw thousands step into the “I” of “I’m Worth It,” turning a slogan into a personal declaration. The campaign also featured pop-up screenings, influencer campaigns, and exclusive events in Spain, Italy, Thailand, and more.
No product shots. No ad messaging. Just Ilon’s story, unfiltered, unvarnished, and undeniably powerful.
+70% increase in brand consideration.
First-ever branded content acquired by TED, a platform known exclusively for original work.
9/10 IMDb score and a 97.9% like ratio.
2 billion potential impressions with standout features in New York Times, Forbes, Vogue, Harper's Bazaar, and Morning Joe.
119 PR articles for the global launch and 55 PR mentions during the pre-launch phase.
OOH in 10 countries: 280 screens in France, 240 in the UK, 1,123 across Spain and Portugal, 53 in Italy, 4 massive screens in Times Square, 15 screens in Mexico, and more.
Interactive installations: 10,000 people in Germany, 2,000 in the UK, and expanding globally.
Social amplification through paid influencers and organic spread, triggering conversations worldwide.
The film did more than tell a story. It reignited a movement.