Category B03. Use of Print / Outdoor
Name Company Position
Caroline Gregory UNILEVER LYNX/AXE Global Team: Global Brand Director
Jamie Brooks UNILEVER LYNX/AXE Global Team: Global Brand Manager
Alessandro D’Amico UNILEVER LYNX/AXE Global Team: Global Assistant Brand Manager
Claire Fynn UNILEVER UK LYNX UK Team: Brand Specialist
Josh Plimmer UNILEVER UK LYNX UK Team: Senior Brand Manager
Tomas Ostiglia LOLA-MullenLowe Executive Creative Director
Jorge Zacher Lola-MullenLowe Creative Directors
Kevin Cabuli Lola-MullenLowe Creative Directors
Felipe Calviño Lola-MullenLowe Agency Producer
Joaquín Cuadrado Lola-MullenLowe Copywriter
Tom Elliston Lola-MullenLowe Client Services Director
Oscar Fernandez-Baca Lola-MullenLowe Account Director
Maria Garcia Campos Lola-MullenLowe Brand Creative Lead
Ginés Gómez Lola-MullenLowe Art Director
Kiki Holshuijsen Lola-MullenLowe Copywriter
Silvia Naranjo Lola-MullenLowe Social Media Strategy
Álvaro Palma FREELANCE Copywriter
Lucas Rodriguez Head of Planning Head of Planning
Jose Miguel Sokoloff IPG Global Team Chief Creative Officer
Big Sync Music Agency Big Sync Music Agency Big Sync Music Agency Music
Sofie Boyland W Communications PR agency Senior Account Manager
Nico Cabuche LANDIA Executive Producer
Gerard Crichlow IPG Global Team Global Strategy Director
Federico Duberti IPG Global Team Global Business Director
Gabriella Griffin W Communications PR agency Senior Account Director
Alberto López LANDIA Producer
Numu * Numu E-commerce platform development
LANDIA Production House LANDIA Production House
Martin Rietti LANDIA Director
Barney Ware IPG Global Team Global Account Director
Nick Fruin W Communications PR agency Account Manager
Tiffany King W Communications PR agency Account Executive
Renaldo Otto W Communications PR agency Junior Account Executive

Why is this work relevant for Media?

In response to the loss of one medium (outdoor ads no one saw during lockdown), Lynx created an entirely new media space: people’s homes. A formerly private space became an advertising opportunity. The campaign then lived on Instagram; Lynx incited its target audience to request Indoor Ads and share photos with their branded products using the hashtag #LynxIndoorAds for money, turning them into influencers for our brand. In short, Lynx’s ads were both displayed inside consumers’ homes, and on their Instagram feeds and stories for their followers to see, effectively creating a new media space and taking advantage of another.


We were tasked with furthering Lynx’s cool brand image amongst young men in the United Kingdom. Due to the extensive lockdown this past year however, the streets were emptier than ever, making OOH advertising seem like an unproductive use of budget. Then, we thought: if the people could not come to Lynx’s ads, perhaps Lynx’s ads could come to them, by utilising a formerly private medium, and making it public: people’s homes.

Describe the creative idea / insights (30% of vote)

The first ever indoor campaign was born in lockdown. Lynx offered to pay people to display one of their branded ads in their homes and then share them with the world through Instagram. After all, over 70% of Instagram users fall under our target audience and millions of people were seeing stuck-at-home selfies and rooms through zoom every day. The brand decided to use those interiors as media and appear in the backgrounds of their social media content, to not only reach them, but also their followers. Through an online store, we supplied Lynx ads as pillows/stickers/cases/magnets that consumers could order for free. Young Britons’ bedrooms then became branded billboards and their kitchens Lynx commercials, creating a new form of media. These guys then became paid influencers for a brand they love - now, anywhere could be a Lynx ad and anyone could be “Lynx-fluencer”.

Describe the strategy (20% of vote)

Lynx launched a user-friendly, digital marketplace where consumers could request their Lynx ad to get paid. Then, they shared short tutorial-style posts and stories on Instagram with collaborating influencer Calfreezy (young UK lifestyle vlogger, 1.5M followers) to reach our target audience of UK Gen Z/Millennials who are active on the social platform. From there on, as users posted their Indoor Lynx ads from their homes, the campaign took off organically. Marketplace visits spiked as early adopters proceeded to share the tip with their friends and followers. The next morning, all paid ads were halted as the maximum capacity of participants was reached and all Indoor Ads were sold out, but the community continued to advertise for us on their Instagram, while getting paid.

Describe the execution (20% of vote)

To make sure consumers could easily get one of Lynx’s Indoor Ads, the brand launched a Marketplace where consumers could request one of four branded Lynx products: a shower panel sticker; a framed poster; a fridge magnet; or a pillowcase. Both Lynx and collaborating influencer Calfreezy announced the campaign on Instagram and linked to the Lynx Marketplace’s site. Here, consumers could quickly sign up and order their favourite ad for free. Upon receival, consumers snapped a selfie with their installed ad and after uploading them to Instagram with the hashtag #LynxIndoorAds were paid their respective amounts, with items priced up to 50 pounds per post. Regardless of their follower count, consumers became influencers for the brand, sharing their content featuring Lynx ads with friends, family and fans, causing an exponential effect in campaign reach even after the campaign completely sold out after the first day. (This campaign was UK only)

List the results (30% of vote)

The UK only geo-targeted campaign got hundreds of Britons to put our ads up in their houses, The campaign reached +4.000.000 users and generated €1.300.000 in media. The Indoor Ads all sold out within a day with new sign-ups every 1.8 seconds, +3 minutes on average spent on the website and a 47% conversion rate. The public had a 97% positive sentiment towards Lynx’s campaign. Most importantly, the campaign created a lasting connection between Lynx and its customers by not selling them their products but paying them to sell them on its behalf, and with a valuable outcome: 97% positive sentiment. By shifting the consumer-brand relationship to a collaboration, Lynx modernised and democratised the meaning of social media monetisation.