Waves wash onto a sandy beach at sunset, with the sun low on the horizon and a few swimmers far out in the sea
Submitted by SocialChain

The Getaway

SocialChain built The Getaway, a two part creator campaign for loveholidays across the UK, Ireland and Germany, which the agency reports drove a 20% increase in bookings vs. target.

7.9%average engagement rate
168kengagements
16.5mimpressions
+20%increase in bookings vs. target

Case in 60 seconds

During the peak Boxing Day and January sales period travel brands flood social feeds with aspirational creator content, which made standing out difficult for loveholidays and called for a creator campaign that felt fresh and entertaining.

The campaign appears to turn on the reading that Boxing Day is lived as a slump rather than a celebration, because an audience worn down by festive chaos is already craving an escape before any brand offers one.

The Getaway positioned loveholidays as the escape route from familiar Boxing Day pain points, organising the work as a two part creator narrative that ran the complaint first and the holiday second.

SocialChain and The Fifth partnered with eight creators across Instagram and TikTok in the UK, Germany and Ireland, with Part One going live on Boxing Day itself as skits about leftover turkey sandwiches, overflowing rubbish bins and family finishing the Celebrations. Part Two sent the same characters on loveholidays holidays to Morocco, Egypt and the Canary Islands, captured through Ray-Ban Meta glasses for a first person view, carrying booking codes such as POVMONICA and POVABBIE.

SocialChain reports 16.5m impressions, 168k engagements and a 7.9% average ER, alongside a 20% increase in bookings vs. target, and describes the work as loveholidays' best performing influencer campaign for bookings to date.

Strategy Breakdown

Audiences in the UK, Germany and Ireland living through the post Christmas slump of Boxing Day and the January sales period, described by the page as craving an escape after festive fun, family chaos and celebrations.
Boxing Day carries a gap between the festive ideal and how the day is actually experienced, and the page builds the work on that gap by naming busy shops, dry turkey and the in-laws before naming the brand.
Travel brands all compete for the same attention in the same weeks with the same aspirational creator content, so the page frames the task as cutting through a sea of sameness rather than outspending it.
loveholidays appears as the escape route arrived at by the creator inside the story, which places the brand as the resolution to a complaint rather than as the subject of the content.
The work assumes that intent to book is highest at the point of exhaustion rather than at the point of aspiration, which is why the sales period pitch is made through irritation rather than through beaches.

Creative & Execution System

Assets & channels

  • Instagram
  • TikTok
  • first person video
  • skits
  • video

Partners

  • SocialChain
  • The Fifth

Participation mechanic

  • Creator specific booking codes such as POVMONICA and POVABBIE, with POVABBIE offering £75 off holidays £750+, gave viewers a way to act on the content at the point of booking rather than by making content of their own.

Creator role

  • Abbie Budden — creator
  • Durk and Ski — creator
  • Enya Martin — creator
  • Kirafin — creator
  • Maurizio Pastore — creator
  • Monica Geldart — creator
  • Naima Da Silva — creator
  • Paul Olima — creator
  • eight creators across Instagram and TikTok

Results & Evidence

MetricValue
Average Engagement Rate7.9% average ER
Engagements168k engagements
Impressions16.5m impressions
Increase in Bookings vs. Target20% increase in bookings vs. target

The Work

TikTokPost by @abbiebudden

TikTokPost by @monicageldart

Why SocialChain's strategy worked

  1. 1

    Comedy rooted in a shared seasonal complaint gives a brand a reason to enter the conversation, because the product answers a problem the audience has already named rather than interrupting with a destination.

  2. 2

    Holding the same character across two content drops appears to work as a continuity device, since the second post reads as the resolution of the first rather than as a separate paid placement.

  3. 3

    Timing publication to the day being described, in this case Boxing Day itself, aligns the content with what the audience is doing while watching, which suggests relevance was scheduled rather than assumed.

  4. 4

    First person capture through camera glasses gives creator travel content a different visual register from the polished destination footage the category produces, so the format itself carries part of the differentiation.

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