Two seasons on the same logic: TV holds brand awareness, digital builds frequency and contact quality, OOH grows the geography from two cities to seven.
In Tajikistan, Fanta competes not with Coca-Cola but with local and Turkish sweet soda brands that buy TV aggressively. Both campaigns had a reach brief: hold brand and flavour awareness through the peak consumption season, when several players in the category are on air at once. The audience was 13–39 nationwide. The 2025 campaign was built around flavour, the 2026 one around the occasion of getting together.
Both campaigns followed the same logic: TV holds awareness, digital builds frequency and contact quality, OOH closes the geography. The difference lies in spot length and in the structure of digital. In 2025 TV ran a mixed 15 and 30 second copy; in 2026 we took a single 20-second version to carry an emotional story. In digital both campaigns separated programmatic for volume, online video for completion and social for frequency, but in 2026 we shifted weight towards video. In OOH in 2026 we went beyond Dushanbe and Khujand, added cities in the Sughd region and ran a special placement inside Dushanbe Mall.
We stretched the 2025 summer campaign well beyond the planned period and delivered more airtime minutes within the same budget. In the 2026 campaign one flight was cancelled on the broadcaster side, so actual volume came in below plan — recorded in the report with its cause, not buried between the lines.
In the 2026 campaign we shifted the weight of digital towards online video, and the completion rate came in several times above plan at a lower cost per contact. That confirmed the hypothesis: for Fanta in Tajikistan video works better than banner formats.
In 2025 programmatic was there for volume and beat its plan on both impressions and clicks. In 2026 the job was different — hold frequency rather than grow volume. So we deliberately did not push weight up, and instead reach and cost efficiency improved.
In both campaigns Instagram delivered reach above plan at a CPM noticeably below the one budgeted in the media plan. Feed and Stories worked as a pair: feed for reach, Stories for frequency.
In 2025 OOH covered Dushanbe and Khujand: static, LED screens and LED city formats. In 2026 we grew the geography to seven cities, adding Isfara, Spitamen, Istaravshan, Konibodom and Dzh. Rasulov. Separately we ran a special digital placement inside Dushanbe Mall — at the point where the purchase decision is made.
Both campaigns worked with local creators. In the report we recorded a conclusion that held twice over: integrating the product organically into the creator own format works better than a rigid brief — the audience does not read it as advertising and keeps its trust.
Two campaigns built on the same logic but structured differently for different seasonal objectives. TV held brand awareness through peak consumption, digital delivered contact frequency and video completion above plan, OOH grew the geography from two cities to seven and added a placement in the country largest shopping mall. Campaign performance figures are not published.
Tell us about it — we’ll suggest the format and scope of work.
Bringing a payment method nobody in the country had used yet to market: TV, digital, LED screens and indoor, 18 Tajik-language creatives and a communication broken into seven barriers rather than one slogan.
A series of campaigns over two years: holiday, summer and product activations. A media mix of TV, digital, OOH and radio rebuilt for each campaign objective, with coverage beyond Dushanbe.
We use cookies for analytics and to improve the site. Learn more