大一期间,我作为组长与一位队友参与了2022年荣耀创意精英挑战赛。复赛阶段,我们围绕荣耀 70 的「主角模式」,以毕业季为背景拍摄了一支叙事型短片;在决赛阶段,我们为荣耀 70 与荣耀平板 8 面向大学生群体设计整合营销方案,并最终获得全国第五名。
在这份方案中,我当时的核心思路是:基于大学生群体"重体验、强表达、偏感性消费"的特征,将产品的多屏协同与大屏体验转译为学习、创作与娱乐等具体使用场景,并以"多元宇宙"作为创意母题,串联 TVC 传播、KOL 投放与校园线下展览,试图通过情绪共鸣与参与机制提升品牌好感度与曝光。
但从现在回看,这个方案在策略层面存在众多不足:
用"流行概念"替代"真实需求"
当时选择"元宇宙"作为核心创意,本质是借势热点而非从用户出发。问题在于,这一概念与"为什么要买一台荣耀设备"之间缺乏直接因果关系,用户很难将抽象叙事转化为具体购买理由。换句话说,这是一个"好讲述但不好卖货"的创意。
用户洞察停留在"标签化",缺乏决策驱动因素
我们提炼了如"感性消费""追求体验"等特征,但这些更多是对群体的描述,而非影响决策的关键变量。方案中缺失的是:用户在什么情境下会犹豫?在什么条件下会下单?例如"效率 vs 娱乐""价格 vs 性能"的权衡并未被纳入策略核心。
产品表达缺乏"非你不可"的理由
虽然完成了从功能到场景的映射,但这些场景并未建立与荣耀产品的强绑定关系,本质上是"这个场景可以用荣耀",而不是"这个场景更适合用荣耀"。缺乏差异化论证,使产品在决策链路中容易被替代。
传播策略本质仍是"品牌单向输出"
当时采用 TVC+KOL+线下展的组合,在学生竞赛语境中是完整的,但本质仍属于中心化传播逻辑:品牌生产内容,用户被动接收。缺少用户自发参与与内容再生产机制,导致传播难以形成持续扩散。
转化路径缺失,结果指标缺乏支撑逻辑
方案中直接给出了曝光、转化率与销量预期,但没有拆解从"看到内容"到"完成购买"的具体路径,也没有解释每一环节如何影响转化。这在真实商业环境中会被视为关键缺口,因为 ROI 无法被验证或复用。
数据设计偏"展示性",缺乏可执行性
指标设置更接近结果陈述,而非运营过程中的监测工具,例如缺少点击率、加购率、转化成本等中间指标,也没有对应的数据采集与归因方式。
如果将这一项目放到2026年重新执行,我会进行以下结构性调整:
01从"概念驱动"转向"问题驱动"——以"多设备切换带来的效率损耗"为核心切口,将多屏协同从"功能卖点"升级为"解决方案",直接嵌入用户日常学习与生活决策场景。
02重构内容逻辑:从品牌叙事转向真实记录——放弃 TVC 作为核心内容形态,转而以真实用户的多设备使用场景为内容主体,通过可感知的使用体验建立信任。
03从 KOL 投放转向 KOC/UGC 驱动的内容生态——通过大量普通用户内容而非头部达人,构建更高真实性的种草环境,使"他人经验"成为主要说服力来源。
04补全完整转化链路并建立数据闭环——明确"内容触达 → 兴趣产生 → 跳转电商 → 下单转化"的路径,并设置可量化指标(CTR、加购率、转化率等),使每一阶段都可被优化与复盘。
05强化产品差异表达,建立选择理由——将"多屏协同"的具体优势量化并可视化,让用户理解"为什么这套组合优于替代方案"。
这个项目让我第一次意识到,营销方案的价值不在于"讲了一个完整的故事",而在于是否能够解释清楚:用户为什么会因此改变决策。这种从"表达导向"转向"决策导向"的转变,也成为我后续所有项目中持续修正的核心。
During my first year of university, I led a two-person team to participate in the 2022 Honor Creative Elite Challenge. In the semi-final round, we produced a narrative short film centered on the "Protagonist Mode" of the Honor 70, using the graduation season as the backdrop. In the final round, we designed an integrated marketing campaign targeting university students for the Honor 70 and Honor Pad 8, ultimately achieving fifth place nationwide.
In this campaign, my core approach was: based on the characteristics of university students—valuing experience, strong self-expression, and a tendency toward emotional consumption—we translated the product's multi-screen collaboration and large-screen experience into concrete usage scenarios such as studying, creating, and entertainment. Using the concept of a "multiverse" as the central creative theme, we connected TVC communication, influencer placements, and offline campus exhibitions, aiming to enhance brand favorability and exposure through emotional resonance and participatory mechanisms.
However, in retrospect, the campaign revealed several systematic shortcomings at the strategic level:
Substituting "trendy concepts" for "real needs"
Choosing the "metaverse" as the core creative concept was essentially an attempt to leverage a popular trend rather than starting from user needs. The concept lacked a direct causal link to "why one should purchase an Honor device." Users found it difficult to translate abstract narratives into concrete purchase motivations—it was "easy to tell but hard to sell."
User insights remained at the level of "labeling," lacking decision-driving factors
We identified traits such as "emotional consumption" and "experience-oriented behavior," but these were descriptive rather than explanatory of decision-making. Missing was a deeper understanding of when users hesitate and under what conditions they decide to purchase—trade-offs like "efficiency vs. entertainment" and "price vs. performance" were not incorporated into the strategic core.
Product communication lacked a compelling "reason-to-choose"
Although we mapped product functions to scenarios (studying, fitness, photo editing), these scenarios did not establish a strong, exclusive link to Honor products. The message was "this scenario can be done with Honor," rather than "this scenario is better with Honor." The lack of differentiated justification made the product easily substitutable.
The communication strategy remained fundamentally "one-way brand output"
While the combination of TVC, KOLs, and offline exhibitions appeared comprehensive within a student competition context, it still followed a centralized communication logic: the brand produced content and users passively received it. The absence of user-initiated participation and content reproduction mechanisms limited the potential for sustained organic spread.
Missing conversion pathways and unsupported outcome metrics
The proposal directly presented expectations for exposure, conversion rates, and sales, but failed to break down the actual path from "content exposure" to "purchase completion," or explain how each stage contributed to conversion. In a real business context, this would be considered a critical gap, as ROI could neither be validated nor replicated.
Data design was presentation-oriented rather than actionable
The metrics resembled outcome statements rather than operational monitoring tools. There was a lack of intermediate indicators such as click-through rate, add-to-cart rate, and cost per conversion, as well as corresponding methods for data collection and attribution.
If I were to re-execute this project in 2026, I would make the following structural adjustments:
01From "concept-driven" to "problem-driven" strategy—Focus on the inefficiencies caused by switching between devices as the key entry point, upgrading multi-screen collaboration from a "feature" into a "solution" embedded directly into users' everyday study and life decisions.
02Reconstructing content logic: from brand storytelling to real-life documentation—Instead of using TVCs as the core content format, center content on real user scenarios of multi-device usage, building trust through tangible experiences rather than relying on emotional narratives.
03From influencer-driven exposure to a micro-influencer/UGC-driven content ecosystem—By leveraging a large volume of ordinary user-generated content rather than top influencers, create a more authentic environment for product discovery, where peer experiences become the primary source of persuasion.
04Completing the conversion funnel and establishing a data loop—Clearly define the path from "content exposure → interest generation → e-commerce redirection → purchase conversion," and assign measurable metrics (CTR, add-to-cart rate, conversion rate, etc.) to each stage.
05Strengthening product differentiation and building a clear "reason to choose"—Quantify and visualize the specific advantages of multi-screen collaboration, helping users understand why this ecosystem outperforms alternatives.
This project was the first time I realized that the value of a marketing proposal does not lie in telling a complete story, but in clearly explaining why it can change user decisions. This shift—from an "expression-oriented" approach to a "decision-oriented" one—has since become a core principle that I continuously refine in my subsequent projects.
社媒作品 Social Media
抖音(TikTok China)和小红书账号「不吃羽毛球」,以及小红书小号「文刀球」的代表作品:抖音收录点赞过千的作品,小红书收录点赞过 200 的笔记。点击截图可放大查看。 Selected posts from my personal accounts: 不吃羽毛球 on Douyin (TikTok China) and Xiaohongshu (RED), plus my second Xiaohongshu account 文刀球. Douyin posts with 1,000+ likes and Xiaohongshu notes with 200+ likes are shown. Click a screenshot to enlarge it.
*数据截至 2026/10/19 *Data as of 19 Oct 2026
英留失恋vlog|小姐姐为男人哭到心脉受损这辈子有了UK student breakup vlog: cried so hard over a guy that my heart hurt
60,504209.8万2.1M2026.04
分手前vs分手后,关系结束是抽筋剥皮的疼痛Before vs after the breakup: when a relationship ends, it hurts to the bone
18,20038.1万381K2026.04
合法飙船!中国人在英国当上女船长了Legal speedboating: a Chinese woman becomes a boat captain in the UK
14,23711.4万114K2026.03
英国留子失恋vlog4️⃣|墓地是个好学校Breakup vlog #4: a cemetery makes a good classroom
6,17714.6万146K2026.04
英留失恋vlog2️⃣|去伦敦新金融城吸收下财气Breakup vlog #2: soaking up some wealth in London's new financial district
2,06913.0万130K2026.04
好邪门的走出失恋方法,但有效A strange but effective way to get over a breakup
1,8656.8万68K2026.05
OMG天真蓝与普通照相馆的区别OMG: ID photos from Tianzhenlan studio vs an ordinary photo studio
3,2462021.05
深圳2019秋季校运会Shenzhen school sports day, autumn 2019
1,5732020.04
🇬🇧英国留子拼了命从国内带来的便宜货外套Budget jackets a UK student lugged all the way from China
1,0962025.10
🇬🇧我操!伦敦你是疯子…OMG! London, you're insane… (35°C edition)
4752026.06
动荡的20岁,不要输给那些下坠的瞬间Turbulent twenties: don't lose to the moments that pull you down
3992026.03
我是母系家族养大的小孩,我很高兴我是女的Raised by the women of my family, and glad to be a woman
3532026.03
中戏毕业|曾想大学转学的我,被女性温暖四年Graduating from the Central Academy of Drama: I once wanted to transfer, then women carried me through four years
3412025.06
泰晤士河合法飙船!在伦敦🇬🇧成为了女船长Legally speeding on the Thames: I became a boat captain in London
3052026.03
🇬🇧Jaded London五条爆款神裤测评(小个子Jaded London: reviewing five viral trousers (petite fit)
2512025.12
🇬🇧35度的今天,留子和一周前认识的闪婚了35°C in London, so I "married" something I met a week ago (a £16 fan)
2322026.06
女孩,如果你也在为情所困,墓地是个好学校If you're heartbroken too, a cemetery makes a good classroom
2132026.05
可我觉得熬夜根本不是我们的错啊(很多时候Staying up late often isn't really our fault
2092026.03
🇬🇧一周收到700个like后,惨败的dating记录700 likes in a week, then a dating disaster
5292026.08
🇬🇧 初高中时,我总是为穿短裤感到羞耻In secondary school, I was always ashamed to wear shorts
4022026.07
🇬🇧 中国女人在东伦敦印巴社区的一年A year as a Chinese woman in East London's South Asian community
3522026.08
🇬🇧 一天坐了10次伊丽莎白线的神经病The weirdo who rode the Elizabeth line 10 times in one day
2612026.07
🇬🇧 psw租房之我是不可接触之贱民Renting on a post-study work visa: treated like an outcast
2232026.08