HYPE London proved such a phenomenal success for HP that the campaign was quickly expanded to run across Europe and Asia.

The trick for us was not to let the project drift into formula. We wanted to keep the idea of HYPE as fresh and different as the work that was filling the gallery each time.

So we made sure each new gallery pushed and re-invented the expression of the HYPE concept in a different way.

For two years we ran a virtual HYPE creative department across Europe with teams in France, Russia, Germany, Italy, and Holland all working into us on the local gallery launch, whilst we also worked across disciplines with digital creatives enriching the online HYPE offering, publishing experts helping us with a HYPE Magazine launch and events people contributing to pop-up HYPE Gallery events at Cannes and the Arles Photo Festival.

So six months after London, HYPE Paris opened at the glamorous location of the Palais de Tokyo. In four weeks, it attracted 32,000 visitors and 2,350 pieces of art were submitted.

HYPE Moscow became a much more radical offering of the idea as we positioned it as an alternative to the institutionalised art galleries of the Moscow establishment and staged protest marches/ speeches with young artists demanding that access to art be democratised. 19,000 visitors turned up and 1,700 pieces of art were submitted.

HYPE Milan allied itself more closely with the fringe world of fashion as we invited young designers to use the printers to copy images onto fabric and create their own fashion shows alongside the art exhibition.

By the end of the second year the online HYPE Gallery art collection had topped 10,000 pictures.

HP brand awareness and printer sales spiked and remained high in every market that hosted the gallery. Spontaneous brand awareness in the target audience increased by 15%. Several million pounds of positive PR was generated globally.

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