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Hans Anders Turns Optician Retail Into Emotional Storytelling
Hans Anders launched "Trampoline" in Belgium in November 2018, a single-film campaign created by Brussels-based agency Mortierbrigade that uses emotionally grounded storytelling to position an accessible optical retailer as a brand capable of genuine human connection rather than purely transactional communication.
Hans Anders is a value-oriented optical retailer founded in 1982, according to company history documented across Nl Wikipedia and Hansanders Nl. By 2018, the parent group operated approximately 400 stores across the Netherlands and Belgium, per reporting on News Nexeye. That scale places Hans Anders firmly within the mass-market tier of optical retail in Belgium, where the challenge is not awareness but emotional differentiation from competitors offering similarly accessible price points. "Trampoline" is the brand's attempt to answer that challenge through film rather than promotion, narrative rather than discount messaging. The campaign consists of one media asset, as recorded on adsoftheworld.com, making the creative weight of that single film both the opportunity and the constraint. Mortierbrigade, a Brussels agency with a documented record of more than 35 Cannes Lions across its portfolio according to shots.net, brought to bear its signature approach of finding an unexpected human truth inside a category brief. In the case of "Trampoline", that truth is rendered through the film medium, a deliberate choice in a professional services retail context where competitors default to price-led print and outdoor. The campaign targets the Belgian market at a moment when Hans Anders was also expanding internationally, having acquired eyes + more in 2018 to enter Germany and Austria, per news.nexeye.com. The Clapboard Score for "Trampoline" is 59 out of 100, reflecting a campaign with genuine creative ambition but limited documented reach and no verified award recognition across major international shows.
Mortierbrigade identified a structural problem in optical retail communications across Belgium. The category treats vision correction as a commodity transaction, competing almost entirely on price and product range rather than on the emotional stakes of sight itself. Hans Anders, precisely because it operates at an accessible price point, is most exposed to this commoditisation pressure. The strategic response embedded in "Trampoline" is to relocate the brand conversation from what glasses cost to what clear vision enables in daily life.
The global spectacle market was estimated at US$78.93 billion in 2018, growing at a compound annual rate of 2.4 percent from 2019 through 2025, according to millioninsights.com. Offline distribution accounted for 84.9 percent of that global market in 2018, per the same source, a figure that underscores why in-store footfall and brand preference remain the decisive competitive battleground for a retailer like Hans Anders operating physical locations across Belgium. In this environment, two competitors define the category tension. GrandOptical operates premium-positioned stores across Belgium and competes on brand prestige and service quality. Pearle Opticiens holds significant recognition across the Belgian market and routinely invests in broad media campaigns. Against these rivals, Hans Anders cannot credibly compete on luxury positioning. Its strategic asset is relatability, and "Trampoline" operationalises that asset by anchoring the brand in an everyday human moment that any Belgian viewer can recognise. Strategic director Vincent d'Halluin and digital director Pieter Nijs are credited on the campaign, per Pub Be, indicating that the strategic development engaged both brand planning and digital distribution thinking from the outset, suggesting an intent to extend the film's emotional impact beyond a single broadcast placement.
Director Jeroen Annokkee led the production of "Trampoline" through Brussels-based production company Czar.be, according to credits published on pub.be and adsoftheworld.com. Annokkee's direction shapes the film's single narrative arc around a visual and emotional payoff that is structurally dependent on the audience understanding what is at stake in the moment of clear sight. The production credits, documented on pub.be, identify a full creative and production infrastructure behind a campaign that ultimately resolves into one media asset.
Creative directors Jens Mortier, Joost Berends, and Philippe De Ceuster oversaw the creative work, with Girbe Bogaerts and Jutta Callebaut as the credited creatives, per pub.be. TV producer Charlotte Coddens and agency producer Lisa De Roeck managed production logistics, while executive producer Eurydice Gysel and producer Maarten De Sutter operated from the Czar.be side, again per pub.be. Graphic designer Wim De Dobbeleer contributed to the visual identity elements, and social media distribution was handled by Jonas Van Bael, with digital producers Jeroen De Bock and Melissa Tack completing the delivery infrastructure. This depth of credited production talent on a single-film campaign indicates that Mortierbrigade treated "Trampoline" as a flagship piece of work rather than a functional retail execution. The film sits within a small creative cluster: adsoftheworld.com records that Mortierbrigade produced companion campaigns "Small Print" and "Cockroaches" for Hans Anders Belgium in October 2018, suggesting that "Trampoline" was released as part of a broader autumnal push rather than as an isolated executional experiment. The narrative film format distinguishes the campaign from the category norm in Belgian optical retail, where price-comparison messaging and product-led photography dominate media placement across outdoor, press, and digital formats.
No verified performance data for "Trampoline" is publicly available. No published business results, sales lift figures, market-share movement, or customer acquisition metrics have been located across trade or consumer press sources, including Campaign, Ad Age, Adweek, The Drum, or Contagious. No verifiable social media reaction data has been identified across Twitter/X, Reddit, LinkedIn, or YouTube. The campaign has not received verified recognition at Cannes Lions, the Effie Awards, The One Show, D&AD, the Clio Awards, the Webby Awards, or the WARC Awards, according to records across those shows' public databases.
In the absence of measured outcomes, the structural effectiveness of "Trampoline" can be assessed on creative and strategic terms. The decision to invest in a single, craft-forward film for a value optical retailer in Belgium represents a deliberate repositioning wager. The optical retail category in Belgium, like its equivalents across Western Europe, is a high-frequency, low-emotional-engagement sector for most consumers. Mortierbrigade's approach on "Trampoline" attempts to raise the emotional stakes of the purchase decision by placing vision at the centre of an intimate human moment rather than at the centre of a price comparison. That structural choice is coherent with the agency's broader body of work, which has accumulated more than 35 Cannes Lions and 10 Effie Awards across its portfolio according to shots.net, though none of those awards are attributed to this specific campaign. The Clapboard Score of 59 out of 100 reflects a piece with genuine creative intent, produced to a professional standard by a credible agency-director pairing, but one whose documented impact in the Belgian market remains unverifiable from public sources.
"Trampoline" is a film campaign created by Mortierbrigade for Hans Anders Belgium, published in November 2018. It uses narrative storytelling to reframe optical retail as an emotionally resonant experience rather than a transactional one, consisting of a single media asset produced by Brussels-based production company Czar.be under director Jeroen Annokkee.
Mortierbrigade, a Brussels-based agency, created "Trampoline" for Hans Anders Belgium in 2018. The agency's creative directors were Jens Mortier, Joost Berends, and Philippe De Ceuster, with Girbe Bogaerts and Jutta Callebaut as the credited creatives, according to production records published on pub.be and adsoftheworld.com.
No verified awards have been attributed to "Trampoline" across major international shows. Records across Cannes Lions, the Effie Awards, D&AD, The One Show, the Clio Awards, the Webby Awards, and the WARC Awards show no recognition for this specific campaign, though Mortierbrigade's wider portfolio has accumulated more than 35 Cannes Lions according to shots.net.
Hans Anders was a value-oriented optical retailer operating as part of a group running approximately 400 stores across the Netherlands and Belgium by 2018, according to news.nexeye.com. The brand competed against premium rivals including GrandOptical and Pearle Opticiens, making emotional differentiation a strategic priority over price-led messaging in the Belgian market.
Jeroen Annokkee directed "Trampoline" for Hans Anders through Brussels-based production company Czar.be. Executive producer Eurydice Gysel and producer Maarten De Sutter led production from the Czar.be side, with Charlotte Coddens serving as TV producer and Lisa De Roeck as agency producer, according to credits documented on pub.be.
"Trampoline" was published in November 2018 as part of a cluster of Mortierbrigade films for Hans Anders Belgium. Companion campaigns "Small Print" and "Cockroaches" were released in October 2018, according to adsoftheworld.com, suggesting the agency developed a broader autumnal narrative campaign strategy for the brand across the Belgian retail market that season.
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