Russia

Ikea PS 2014 Instagram Website

You open Instagram and land on Ikea_ps_2014. The grid does not look like a typical brand feed. Each tile behaves like a navigation button. Benches. Tables. Storage. You tap a category image, reveal hidden tags, and jump straight into product views. Instagram becomes the website.

The idea. A catalog built inside Instagram

Ikea has made a name for itself as a trustworthy and affordable source of stylish home decor. In Russia, to promote the PS 2014 collection, Ikea teams up with Moscow-based agency Instinct to approach Instagram in an entirely new way.

How it works. Categories in the grid, products in the tags

The Ikea_ps_2014 Instagram account serves as the campaign website. Each post represents a product category like benches or tables. When you tap a category image, hidden tags reveal “links” to the products within that category.

Here, “hidden tags” are simply Instagram photo tags used as tap targets, so navigation stays inside native Instagram behavior.

Every one of the 34 items in the collection also receives its own Instagram account. For example ps_laptop_station and ps_side_table.

The real question is whether you can turn a platform habit into structured product discovery without forcing people out of the app.

In consumer brands promoting a collection across many items, this pattern uses a social grid as a lightweight category tree.

Why it matters. An app used beyond its intended design

The Instagram app is certainly never meant to be an Ikea catalog website. The mechanism is simple: category posts behave like menu tiles, and tags behave like links, so thumbs do what they already do in Instagram. That is why the experience feels like browsing, not “clicking out”. This is worth copying when the native UI can carry the journey end-to-end, not when you need heavy comparison, configuration, or checkout.

Extractable takeaway: If a platform already has a grid, a tag system, and a tap habit, you can repurpose those primitives into navigation and keep discovery inside one familiar surface.

Where it connects. Earlier “feed as experience” examples

Earlier this year, Mazda and JWT Canada turned the car-maker’s Instagram feed into an interactive road trip, replacing specs with images and videos that followed the vehicle on an epic adventure. Over the course of four months, the campaign “Long Drive Home” helped grow Mazda Canada’s Instagram following by more than 300%.

Similarly, the Toronto Silent Film Festival turned its feed tsff2014 on its side, creating an interactive timeline complete with factoids and video clips to celebrate Charlie Chaplin’s 100 years on film.

What to copy from this build

Start with categories. Treat the grid as a menu so users can self-select a path.
Use tags as links. Turn existing tap targets into jumps to deeper product views.
Keep the journey native. Let the platform’s follow, view, and tag behaviors do the work.
Design for scan first. Make each tile legible as navigation, not just as content.

A few fast answers before you act

What is the Ikea PS 2014 Instagram website?

A campaign that uses an Instagram account as a navigable catalog. Grid posts act as categories, and photo tags act as links to product accounts.

How do people navigate it?

Users tap category images in the grid, reveal the photo tags, and jump to specific product pages inside Instagram.

What is the key execution detail?

Each PS 2014 product gets its own Instagram account, so exploration happens via Instagram’s native follow, view, and tag behaviors.

Why does this work on mobile?

It turns a familiar mobile habit, browsing a feed, into structured discovery without forcing users into a new interface.

What is the transferable pattern?

Treat platform constraints as UI elements. Build navigation out of what the platform already provides instead of fighting it.

Drone-vertising: Wokker and Cup Noodles

Unmanned aircraft have been used to carry out military strikes, to film weddings, and are also being explored for product delivery from companies like Amazon, Netflix, Francesco’s Pizzeria and Flower Delivery Express.

Until the legalities of commercial use are cleared up by local governments, companies in Russia and Brazil go ahead with what are described as early drone-vertising campaigns. Drone-vertising is using drones as moving media, either by flying banners through high-attention locations or by staging a delivery moment that doubles as a filmed ad.

Airspace as a new media channel

The mechanism is straightforward. Put a message or a product on a drone. Fly it where the audience is already looking. Capture the moment on video so the stunt can travel beyond the people who witnessed it live. Because the drone enters an uninvited sightline, it creates surprise, which is why the filmed moment gets retold and replayed.

In dense urban districts where attention is scarce, brands keep searching for formats that create surprise without requiring new screen time.

The real question is whether the brand promise stays clear when the novelty fades, or whether the drone becomes the headline and the product becomes the footnote.

As ordinary advertising channels continue to be congested, Russian creative agency Hungry Boys uses drones to advertise noodle company Wokker.

Wokker banners are attached to drones and flown around high-rise business buildings in Moscow’s financial district, drawing the attention of office workers as the drones pass windows. The campaign is described as driving deliveries in the targeted area up by 40%.

Brazil

Cup Noodles, the instant ramen noodles snack from Nissin-Ajinomoto, is promoted in Brazil with drones dressed as cows, chickens, corn cobs and shrimps. A two-and-a-half minute film created for the brand’s online campaign uses drones to take Cup Noodles to surfers, skateboarders and highline walkers as they practise their sport.

Why drone-vertising gets noticed

This format works because it breaks the normal media contract. People do not expect ads to appear outside their window, and they do not expect “delivery” to arrive from above. The novelty is doing most of the work. The brand then benefits from the retelling, because the story is easy to summarise and the footage is inherently watchable. Drone-vertising is only worth doing when the brand meaning is unmistakable and the safety story is boring.

Extractable takeaway: If you are betting on a new attention surface, make the idea legible in one glance and one sentence. The stunt must communicate the category benefit instantly, otherwise the drone becomes the headline and the brand becomes a footnote.

Rules worth stealing before you fly ads

Target a context with a clear “why now”. Wokker links to lunch-time office hunger. Cup Noodles links to being hungry while out doing sport.
Design for cameras as well as eyeballs. You need a clean visual read at distance, plus a story that survives reposting.
Keep the stunt safe and bounded. The moment you look reckless, the conversation turns from clever to irresponsible.
Prove impact carefully. If you cite uplift, be ready to explain what changed, where, and for how long.

A few fast answers before you act

What is drone-vertising?

It is using drones as moving media. Either by flying banners through high-attention locations or by staging a delivery moment that doubles as a filmed ad.

Why does it work particularly well near offices or public hotspots?

Because the audience is concentrated and the environment is predictable. A drone appearing in a controlled corridor creates surprise without needing people to opt in.

What is the biggest brand risk?

Safety and permission. If the flight looks uncontrolled or disruptive, attention quickly becomes negative and the brand is blamed for the intrusion.

How do you keep the idea from becoming “tech for tech’s sake”?

Tie the drone to a simple product truth that the audience recognises instantly, like lunch delivery urgency or on-the-go convenience, then make that truth the focus of the footage.

What should you measure before you claim “uplift”?

Define the exact area and time window the stunt covered, choose a baseline for comparison, and separate what changed because of the flight itself versus what changed because the filmed story spread online.

Adidas Boost

Adidas is using its new Boost technology. Built around returning energy to runners. To promote it, TBWA\Moscow created a running project that does something surprisingly literal. It turns running energy into electricity to light up a stadium.

The project is called “Charge the city with the energy of running”. It covers four races. Adidas Energy Run, Autumn Thunder, Color Run and the Moscow Marathon. Runners are given mobile generators that transform kinetic energy into electricity. The collected energy from hundreds of runners is then channeled to illuminate a stadium in Protvino. A town whose stadium has had no light since 1984.

Why this works as a product story

The benefit claim behind Boost is “energy return”, meaning the product is framed around giving runners usable energy back through the run. This activation makes that claim physical. You do not just hear about energy. You see it converted, stored, and used for something meaningful. Because the idea turns the benefit into visible proof, the product story becomes easier to grasp and repeat.

Extractable takeaway: If a product promise is abstract, give people a way to watch it become a concrete outcome.

Why the race selection matters

The real question is how to make a performance claim feel credible at scale, not just catchy in an ad. By spanning multiple races, the idea scales naturally. More events means more runners. More runners means more energy. The story gets stronger with participation, and every participant can feel like they contributed to a shared output.

In brand activation work, that matters because shared physical outcomes make abstract product claims easier for people to believe and retell.

This is a stronger brand move than a standard product demo because participation itself generates the evidence.

What to borrow for brand activations

Make the product promise measurable. Convert the benefit into something people can see and count.
Build a shared outcome. Lighting a stadium is a clear “we did this together” moment.
Use participation as media. The crowd is not an audience. The crowd is the engine.

A few fast answers before you act

What is Adidas Boost in this context?

A running-shoe technology positioned around returning energy to runners, promoted here via a real-world energy-generation project.

What was the “Charge the city with the energy of running” project?

A TBWA\Moscow activation where runners used mobile generators to convert kinetic energy into electricity to light a stadium in Protvino.

Which races were included?

Adidas Energy Run, Autumn Thunder, Color Run and the Moscow Marathon.

What was the impact point in Protvino?

The collected electricity was used to illuminate a stadium that had no light since 1984.

Why is this a strong marketing mechanic?

Because it turns the product promise into visible proof, and makes participation create the outcome.