Bruno Aveillan (born February 24, 1968) is a multimedia artist, photographer, and French director born in Toulouse.
A graduate of the École Supérieure des Beaux-Arts in Toulouse, he joined the production company QUAD as a director. His acclaimed works include commercials for brands like Perrier, Louis Vuitton, Audi, Nike, Paco Rabanne, Quèzac, Lexus, Guerlain, Nissan, SFR, Chanel, Time Warner, Volvo, Maxmara, Peugeot, and more.
One of his first notable achievements was the Perrier spot “La Foule” (“The Crowd”), which showcased colorful characters stepping out of their posters and went on to be named “Favorite Film of the French” in an IPSOS/Stratégie survey.
In 1999, succeeding directors like Lars von Trier and Roland Joffé, Aveillan directed a new installment of the CNP advertising saga. He also directed the iconic film for Lanvin’s Oxygène perfume, marking supermodel Gisèle Bündchen’s first on-screen appearance.
He has filmed a vast number of celebrities, including Monica Bellucci, Claudia Schiffer, Amy Smart, Mélanie Thierry, Olga Sherer, Sharon Stone, Milla Jovovich, Jessica Stam, Inna Zobova, Virginie Ledoyen, Mylène Farmer, Daiane Conterato, Vlada Roslyakova, Elsa Benitez, and Julia Stegner, among others.
His work is known for its dreamy, poetic style, including projects for Thermasilk and the “Anthem” film for Nissan-Infinity, which premiered at the Oscars ceremony in 2002 (as reported by boards magazine). That same year, he directed one of the four launch films for Orange, alongside Martin Scorsese and Oliver Stone, and worked with Land artist Nils Udo to develop the visual world of Guerlain’s Mahora perfume.
One of his experimental works is “Magnum (5 senses)”, which had a significant media impact in Europe (Effies).
In 2008, Louis Vuitton commissioned Aveillan to create its first-ever advertising film, “Where will life take you”, a 90-second film translated into 14 languages, winning multiple awards including a Gold Clio Award, a Gold Award at the London International Awards, an Epica Award, and a Cristal. The music for the film was composed by Gustavo Santaolalla.
In 2010, he directed a moving campaign for Shangri-La hotels, telling the story of a man rescued and raised by wolves, using the metaphor of generosity and humanism.
Bruno Aveillan is also a supporter of NGOs like Reporters Without Borders and food banks, for which he has produced several films.
After graduating from the prestigious École Supérieure des Beaux-Arts in Toulouse, Aveillan embarked on his creative journey in 1995 by joining Quad Productions in Paris. His artistic flair soon caught the attention of global brands, leading him to direct an impressive array of short experimental films and international commercials for the likes of Orange, Chanel, Cartier, Lanvin, Perrier, Louis Vuitton, Audi, Nike, Paco Rabanne, Shangri-La, Lexus, Guerlain, Rochas, Jaguar, Samsung, Nissan, Time Warner, Volvo, Miller, Nintendo, Coca-Cola, and BMW.
In 1999, Aveillan stepped into the shoes of renowned directors Lars von Trier and Roland Joffé to craft a new episode for CNP’s celebrated advertising saga. That same year, he directed the launch commercial for Lanvin’s perfume “Oxygène,” which also marked Gisele Bündchen’s screen debut. Over the years, Aveillan’s lens has captured some of the world’s most iconic faces, including Monica Bellucci, Rachel Weisz, Freida Pinto, Natalia Vodianova, Claudia Schiffer, Karlie Kloss, Lara Stone, Natasha Poly, and many more.
Notably, his collaboration with Nissan-Infiniti led to the creation of “Athem,” a spot unveiled during the 2002 Oscars premiere. He later joined forces with legendary directors Martin Scorsese and Oliver Stone to produce a series of commercials for Orange. Aveillan’s partnership with Land Artist Nils Udo for Guerlain’s Mahora perfume campaign, and with fashion designer Olivier Theyskens for Rochas, further underscored his gift for merging art and commerce.
His acclaimed Magnum commercial, “5 senses,” earned accolades worldwide, including the Montreux Gold Award and the European Effie Award. Pushing the boundaries of storytelling, Aveillan ventured into animation in 2007 with the Robotskin series for Philips and created a Flash-animated television series.
In 2008, Aveillan helmed the first brand campaign for Louis Vuitton, “Where will life take you?”—a cinematic homage to the soul of travel. This evocative spot garnered 14 international awards, including the Gold Clio and the Gold Award at the London International Awards, with music composed by the Oscar-winning Gustavo Santaolalla.
The following year, the Musée des Arts Décoratifs at the Louvre honored Aveillan’s pioneering work with a retrospective as part of its major exhibition on cinema in advertising. In 2010, he unveiled Shangri-La’s first brand film, a poetic narrative of a man embraced and saved by wolves—a symbol of generosity and humanism. In 2011, he brought Swarovski’s century-long heritage to life in a short film premiered in Times Square, New York City.
Aveillan reached a new pinnacle in 2012 with “L’Odyssée de Cartier,” a breathtaking three-and-a-half-minute film celebrating Cartier’s 165-year history. Premiered at The Metropolitan Museum of Art in New York, the film has since captivated over 180 million viewers worldwide and won more than 40 gold awards, including a Golden Lion at Cannes.
In 2013, his photographic and art work was showcased in the prestigious VICTOR book by Hasselblad, alongside artists like Alec Soth, Steve McCurry, and David Hockney. That same year, he began developing a feature film project for Universal—a modern fairy tale inspired by Cinderella, penned by Ann Peacock.
Continuing his dedication to both art and social good, Aveillan directed a powerful road safety campaign in 2017 that became the most awarded campaign of the year, securing over 39 international awards, including six Cannes Lions. He has also lent his talent to NGOs such as Reporters Without Borders, the Paralympic Games, and the Food Bank, and is a proud ambassador of The Heart Fund.
Aveillan’s passion extends to the world of documentary film as well. In 2017, he directed an experimental 60-minute documentary about French sculptor Rodin, which premiered at The Grand Palais in Paris before traveling to prestigious venues worldwide, including Stanford University, the Barnes Foundation, and the Art Gallery of South Australia.
His illustrious career has earned him an impressive array of accolades, including the Gold Lion at Cannes, AEAF Award, Gold Clio, Grand Prix Stratégie, Art Director Club Awards across Europe, EuroEffies, and the Golden Award of Montreux. In 2014, Aveillan was recognized with a Lifetime Achievement Award at the La Jolla International Fashion Film Festival for his “Global Excellence.”
From short experimental films to major brand campaigns and humanitarian causes, Aveillan’s visionary approach continues to push boundaries and inspire audiences around the world.
Nataly Aveillan was a dancer and choreographer in the Preljocaj ballet from 1991 to 2002.
From 2001 to 2009, she was a choreographer and dancer in the Toulouse-based Cave Canem Company.
She directed this dance company with her husband, Philippe Combes.
Mylène Farmer and Nataly Aveillan
Nataly Aveillan participated with her husband Philippe Combes in the design of the choreography of Dégénération for the video clip made in 2008 and then for the Tour 2009.
After the death of Philippe Combes in April 2009, she will carry out the rehearsals for Dégnération alone with Mylène and the dancers.
Nataly Aveillan is the sister of Bruno Aveillan, the director of the Farmer Project in 2008 and who photographed Mylène for Citizen K magazine in 2011 .
For Mylène Farmer’s monumental 2009 Tour, Nataly Aveillan was invited to create the choreography for “Dégénération“—the only piece in the show not choreographed by Christophe Danchaud. Nataly revealed that Mylène had approached her directly, seeking a contemporary dance style that was a departure from the show’s usual choreography. “I think Mylène wanted something truly innovative,” Nataly explained. “Contemporary dance is typically more intimate, almost secretive, so integrating it into a massive concert environment was a real challenge—one that was incredibly exciting.”
Initially, there was talk of Nataly choreographing a second number, but in the end, “Dégénération” remained her sole contribution. She described her first meeting with Mylène in November 2008, after which she began working in January. Mylène gave her complete creative freedom. “I had total freedom,” Nataly said, “but I was fully aware of the scale of the show. Unlike a theater audience that comes for dance alone, these spectators were coming for Mylène, with the dance as a supporting element.”
Interestingly, Nataly had no detailed information about the set, Mylène’s costume, or even the visuals by Alain Escalle. Yet, she found the final integration of all these elements to be beautifully coherent, despite working almost in isolation. On stage, Mylène stood motionless atop a giant insect before rising on a platform—never participating directly in the dance. “From the start, Mylène said she wouldn’t be dancing on “Dégénération,” Nataly shared. “The choreography I created was very precise and balletic. It would have been nearly impossible to sing and dance it simultaneously.”
Nataly had previously collaborated with Philippe Combes on the choreography for the “Dégénération” music video in 2008. For the tour, she worked closely with Philippe again, sending recordings to Mylène, refining the work, and receiving Mylène’s approval. “I worked alone at first, then with Philippe,” Nataly said. “We met again to discuss it, and after a few tweaks, it was approved.”
Although she found the experience daunting—this was her first concert project—she didn’t let nerves get in the way. “Of course I was a little scared,” she admitted. “It was new for me, and I just wanted to make sure it worked. As for reactions, I didn’t worry about them. We’re in the performing arts, and I find barriers between disciplines annoying.”
Rehearsals with the dancers took place in Paris and Nice, where she discovered they were initially surprised by the choreography’s contemporary style. “They’re used to choreography for musicals or more commercial shows, especially in the U.S. where contemporary dance isn’t as common,” she said. “But they loved it.” Christophe Danchaud, the tour’s main choreographer, offered helpful advice during the process. “I managed this choreography entirely,” she explained, “but Christophe was a valuable support thanks to his experience.”
Tragically, Nataly wasn’t able to see the show in Nice as planned, due to the sudden passing of her partner Philippe Combes. She finally saw the performance in Toulouse on May 15, describing it as “a beautiful and grand spectacle that immerses you in a captivating universe from start to finish.”
Through this unique collaboration, Nataly Aveillan brought a strikingly different energy to Mylène Farmer’s show—an evocative, contemporary counterpoint to the pop icon’s enigmatic world.
Nataly worked as visual effects producer for “Stolen car” video (2015)
After studying fashion design and pursuing a career as a dancer, Patricia Aveillan, upon hanging up her ballet shoes, decided to combine her two passions: costumes and performing. In the 1980s, she opened a boutique in Perpignan called Sylphides Créations to manufacture dance and rhythmic gymnastics outfits. Since each piece is unique and often original, it was a success. The biggest big-name companies, such as Gruss and Bouglione, then called on her to create costumes for their acrobats and jugglers.
These garments had to be aesthetically pleasing, supple, sturdy, and original. “Some pieces took up to fifteen days of work and cost several thousand euros,” she explains. From one strong thread to the next, the reputation of Les Sylphides grew and spread to the world of advertising, also a major consumer of costumes. Especially since Bruno, Patricia Aveillan’s son, is establishing himself as one of the most talented commercial directors of his generation. Perrier, Quèzac, Wonderbra, Rochas—to name just a few—all call on the mother-son duo for their campaigns.
With Annie, Maryse, and Marie-Line, these “characters” who assist her, she enjoys taking on the craziest challenges: recreating a medieval costume using the same techniques as those used back then, inventing clothes, inevitably a little crazy, for the famous Perrier commercial where a multitude of characters emerge from their posters and come to life.
Link with Mylène FARMER career
“The Farmer Project” (2008): Directed by Bruno Aveillan, this cinematic music video project showcased his signature style of rich, evocative visuals.
“Stolen Car” (2015): Bruno Aveillan directed the breathtaking video for Mylène Farmer’s duet with Sting, weaving noir-inspired visuals with a tale of seduction and secrecy.
“Désobéissance” (2018): Aveillan directed this powerful, cinematic video for Mylène Farmer, continuing his collaboration with her and creating another visually striking, symbolic world.
Sister’s Involvement: His sister, Nataly Aveillan, was the choreographer for Mylène Farmer’s 2009 tour, adding dynamic and expressive dance elements to the live performances.
Photographer: In 2011, he photographed a special series for Mylène Farmer, capturing her enigmatic persona and artistic essence.
Patricia Aveillan’s flair for creating evocative costumes found a perfect match in Mylène Farmer’s surreal and poetic aesthetic. Her work on “The Farmer Project” video added a tactile dimension to Mylène’s cinematic world, blending fashion, movement, and storytelling.
Beyond “The Farmer Project,” Patricia’s experience working with circus troupes and performers made her a natural choice for collaborating on the elaborate, imaginative costumes that have become a signature part of Mylène Farmer’s visual universe.
Patricia’s son, Bruno Aveillan, is also known for directing several of Mylène Farmer’s videos, such as “Désobéissance” and “Stolen Car”, further cementing the family’s creative contributions to the singer’s work.
RECEIVE ALL THE NEWS FROM MYLENEFARMER.COM VIA EMAIL
