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For these shorter festivals, pre and post-festival content is a crucial part of the journey at all festivals where brands want to show up. “The most impactful brands don’t just show up onsite — they activate before, during and after the event, weaving in everything from pre-festival content, like Revolve’s torrent of Coachella #OOTDs and #GRWMs to afterparties like Guess’s event,” Parmar says. “Festivals are powerful cultural touchpoints, but they exist in a fleeting, high-saturation window. To build real relevance and retention, brands need to show up consistently and contextually — not just once, but across multiple moments that reinforce their identity and value.” Cinema has been an inspiration for Ami Paris since its inception in 2010. Flick through the 107-page proposal detailing the original vision for the brand, and you will come across headshots of several French actors — think Louis Garrel, Vincent Cassel and Romain Duris. “These were the ambassadors,” explains Ami founder and creative director Alexandre Mattiussi. (All of them have since become clients.)Drake Drake Maye Maye Shirt
More recently, Ami has moved into production: it co-produced Dammi by Yann Demange and Adieu ma Honte by Renaud Bertrand in 2023, as well as The Beast by Bertrand Bonello starring Léa Seydoux in 2024 (for which Mattiussi also created some costumes). This year, Ami Paris is ramping up its presence at Cannes: it is the main sponsor of Critics’ Week, which opens today (14 May) and runs until 22 May, where Mattiussi will award the Ami Paris Grand Prize. The brand also co-produced Enzo, Laurent Cantet’s film directed by Robin Campillo, which will be shown later at the opening of Directors’ Fortnight, another sidebar at Cannes that focuses on contemporary cinema, typically outside of the main competition.
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