Snowa

The hidden problem behind the festival.

Snowa’s summer campaign ran on two strong market mechanisms. In "Billion-Toman Nights", a television show aired every night and a number of buyers received prizes of 200 million toman. Alongside it sat "Dream Gifts", where buying certain Snowa products came with a guaranteed gift — a TV with a soundbar, say, or a cooker with a grill.

Each of the two carried an appealing offer on its own: one the chance of something big, the other a certain benefit inside the purchase itself. The question for Donoghteh was how to turn them from a set of separate messages and executions into a more coherent communication experience.

The campaign had real capacity, but that capacity was spread across several disconnected points. The nightly show created a genuine event, with real winners and real prizes paid out. Elsewhere sat the gifts attached to the product, which could raise the value of the purchase.

The problem was never simply announcing these benefits. The real question was this: how do you turn the nightly draw, the gifts attached to a purchase, and the experience of buying a Snowa product into a single story — and carry it from television into digital, into social, and finally into the path to sale? That is where Donoghteh’s role began.

One concept to connect two experiences.

To bring the two halves of the campaign together, Donoghteh shaped the concept of "good moments that keep going". The logic was simple: buying a product does not have to be the end of the event. The product comes into the home, a gift arrives with it, and the buyer still has the chance of another big moment in "Billion-Toman Nights".

So rather than telling each incentive separately, we tried to build a chain: purchase → gift → a chance to win → another good moment. That way "Dream Gifts" and "Billion-Toman Nights" could be two parts of one shared story.

The first step was content that could tell this concept differently from the usual festival advertising. For that, an AI-driven video was designed and produced. But AI here was not merely a production technique; alongside the visual appeal, the video had to carry the real logic of the festival and its benefits. The product, the gift and the continuation of the event were all present in the structure, and the film worked to make "good moments that keep going" something you could actually see.

The second track was influencer marketing. Here too the goal was not simply to announce that "Snowa is running a festival". The same communication logic carried into the influencers’ content, so that the product, the gift and the chance for the purchase to keep going sat inside one story. AI and influencers were therefore not two separate executions: AI built the world and the excitement of the campaign, and influencers brought it close to the audience’s life and language.

Capacity that was built every night — and lost every night.

• Every night produced a real event: the draw, the winner announced, the reactions, and a moment that could become content all over again.
• A significant part of that content was not being seen as it should outside the television broadcast.
• Rather than treating the show as single-use content, Donoghteh turned it into a source of continuous production; the publishable parts were extracted, redesigned, and taken into digital as shorter pieces.
• This ran for 27 nights. What happened on television each night no longer ended with the broadcast — it went back into circulation on social media and helped hold the festival’s momentum.

Being seen was not the end of the road.

If someone became interested after meeting the AI content, an influencer, a winners’ video or any other festival content, there had to be a clear destination for them to continue. So Donoghteh designed a dedicated landing page for the campaign, and worked to route the leads and traffic generated across the different channels to that page more coherently.

The architecture of the activity therefore went beyond a purely content-led programme: content → visibility → interest → landing page → moving closer to purchase. That connection mattered a great deal here, because the goal was never reach or engagement alone. The communication work had to come as close as it could to commercial behaviour.

Perhaps the most important turn in the project happened right here. "Billion-Toman Nights" began as a set of media moments; a show aired each night, a draw was held, a winner was named. Donoghteh worked to turn those scattered moments into a continuous flow of content — and then to connect that flow to a destination where the audience could carry on toward a purchase: Media Moment → Content Flow → Lead → Purchase.