As a product discovered over 150 years ago in the oil fields of Pennsylvania, the humble pot of Vaseline could hardly be considered an obvious target for social media algorithms.
However, its rise as a viral TikTok topic has positioned it at the vanguard of an advertising revolution, in which large companies are spending big on content creators and putting fewer resources into promoting products in legacy broadcasters.
First created commercially in the 1870s by chemist Robert Cheeseborough, who observed drillers rubbing their skin with a derivative of drilling. Currently, a wave of amateur-created clips have documented the product’s widespread use in “life hacks”.
It has been touted as a fix for dirty sneakers or making fragrance last longer, along with a cure for squeaky doors. Users have even applied it to stop the scourge of crisp flavouring sticking to fingers.
Noticing its viral resurgence, strategists within the corporation amplified the hacks by tasking their in-house experts with verification and sharing the findings with influencers.
Assertions that it diminished the sensation of spicy food on lips were validated. So too were ideas it could lengthen scent duration and rejuvenate purses. Proposals that it might bleach teeth or extend lashes were debunked.
Outdoor advertising and television commercials would once have dominated Unilever’s advertising drive. Yet this viral episode has led decision-makers to dramatically increase investment in content creators.
This tracking of digital spaces to inform business strategy has been labeled “social listening”. Unilever's CEO, recently appointed, has suggested it is aiming to spend 50% of its massive marketing spend on platform-based material.
A leading Unilever executive, who is leading the online push, said the company was merely adjusting to novel methods of engaging audiences. She said participating on platforms “without killing the party” was crucial.
“How do brands authentically become part of the conversation? That’s always what we’ve been trying to do as brands, since the era of community gossip and sharing usage tips.
“There’s this moving away from a one-to-many model, where we would just send out ads … Currently, it's countless discussions, various groups. Changes in digital feeds means that these communities feel niche, however, they are large.
“Ensuring your product is discussed by consumers, mentioned by individuals, that fosters reliability and pertinence. Creators are critical to that. We’re really scaling this advocacy model.”
The strategy reflects profound shifts taking place in media consumption, with Gen Z and millennial audiences devoting greater hours to apps like TikTok and Instagram than legacy broadcast and print media.
The transition is visible in falling revenues for broadcast and newspaper ads. In the UK, advertising income for major broadcasters have fallen by more than £600m in real terms since 2019.
It also reflects a merging of functions as large companies almost become production houses themselves, linking up with hundreds of content creators to promote their goods.
Leon Harlow said: “Clearly, there is a migration of viewers out of certain traditional media outlets and they’re spending a lot more time on Instagram, TikTok and YouTube than they are watching live TV or reading print.
“Many companies report to us audiences believe endorsements from the individuals they follow more than they trust ads. That’s a consistent trend.”
He said brands could also save money by focusing on influencers over big traditional media campaigns, which also permits simpler message refinement to gauge performance.
The approach is growing. Marketing investment on the creator economy is growing fourfold quicker than the broader media sector. Stateside, it has over doubled since 2021 and is projected to reach multi-billion dollar sums in 2025.
Even with this transformation, experts said they believed broadcast ads retained significant importance to play, as broadcasters retained the power to shape the national conversation.
The executive noted: “Among the most effective advertising investments is still major broadcast spectacles. It’s not about those broadcasters saying: ‘Oh, we’re not relevant any more.’ It concerns who commands eyeballs … I think there’s 100% a place for them.”
Smartwatch enthusiast and tech writer based in Enschede, covering wearable innovations.