Summer mode: on

Omio’s campaign pages lived in WordPress, and the summer edition led with people: four travellers and their trips. Luca hit 35°C at home and booked a flight to Helsinki instead: islands, saunas, 20°C, then a ferry to Tallinn on impulse. Lana moved three generations to Procida without a car. Alex left Arizona for Rome and kept going through Lake Como into Switzerland. Mia and her friends finally got the group chat to Ibiza.

It’s a likeable page, and it is still the one online.

My bet was that most people landing on a summer campaign already have a rough idea where they want to go, and what slows them down is being told a story before they can look.

So this version led with places: a filterable, paginated grid of destinations (Banff, Reykjavík, Napa Valley, Lisbon), each tagged with what you could do there, so the filter did the work a paragraph had been doing. At the foot of the page, a switch marked Summer Mode: OFF.

I built it in Framer so I could design, publish and change it without a development ticket, and test the idea while summer was still on.

The two pages ran against each other, measured in Microsoft Clarity. The deciding number was visits to the App Store listing. At Omio, a campaign page’s job is to move people from the browser to the app, where they book.

That number counts people arriving at the store, not installs. The install figures sat with the product team and I never got them, so all I claim is that my page sent 28% more people to the store.

Clarity also showed longer sessions and deeper scrolling on my page. My read is that the grid gave people something to do, where the personas gave them something to read.

After summer came a winter page. Nobody is escaping the heat in December: people are going home, or choosing not to. Those are stories real people tell better than a brand does.

So winter led with creators people already follow: a carousel of films, each with a first-person account, filterable by name. The destinations came after: Lapland, Reykjavík, Zermatt.

The footage was generated in Midjourney, then stitched, re-timed and graded in After Effects until it fit Omio’s visual guidelines. Most of the work was in that second step: matching colour, pacing and crop across a whole campaign.

A seasonal campaign is only worth running while the season is on. Generating the footage meant it was ready when the brief needed it, without waiting for a shoot.

The winter page is no longer live. This recording is what’s left of it.