Awareness for the Dilmah Paradise Tea Collection in Russia Through a Creator Tour to Sri Lanka

The client came to RMAA Agency with the format already defined: an influencer tour to the Dilmah tea estates in Sri Lanka. The logic behind that choice is visible in the product itself. The promotion prize was a trip to Sri Lanka, and the range is built on tea grown and packed at source, so content filmed on the plantations could show both at once. The tour also produced a library of original footage and photography for the brand's own channels, and RMAA Agency secured the usage rights for those materials during the negotiation stage.

Creator selection

RMAA Agency built a longlist across YouTube, Telegram, Instagram, and VK, then screened candidates against a consistent set of metrics rather than subscriber counts. Several candidates were pre-confirmed and later released because the January dates did not work for them, so the shortlist was rebuilt several times before the final group was locked.

Three creators joined the tour:

• Kseniya Kuprikova brought the largest reach of the group through a YouTube channel of roughly 1.94 million subscribers. Women make up 85.5% of that audience, and 71.7% of it watches from Russia, the highest Russian share among the three. She films everyday life, beauty, and home content together with her mother, who works as the camera operator and editor and is already familiar to viewers.
• Anastasia Bulla works in lifestyle and travel, so the tour matched what her audience of roughly 808,000 YouTube subscribers expects from her anyway. Her channel skews strongly female at 93.7%, and 56.4% of viewers fall into the 25 to 34 bracket. 
• Kseniya Vostrikova has around 209,000 YouTube subscribers, which made her the smallest channel selected. Her viewers are 98.5% women, the most concentrated profile in the group, and 51.6% of them are aged between 25 and 34. Her vlogs cover home life and personal style.

Campaign execution

In January, the three creators traveled to Sri Lanka on overlapping schedules across the first three weeks of the month. The program took them through the tea estates, where they harvested leaves with Dilmah staff, and through a factory, where they followed fermentation and sorting. A tasting in the garden introduced the Paradise range, and the itinerary also included beaches, temples and local culture.

Publication ran across six platforms: YouTube, Instagram, Telegram, VK, TikTok and RuTube. The mix combined long-form vlogs with Shorts, Reels, photo posts and daily stories, so the story unfolded over several weeks instead of landing at once. Each format carried the promotion differently. Vlogs and Reels told the story of the island and the estates, while Telegram posts set out the mechanics step by step, naming the participating retail chains, describing the QR code on the top panel of the pack and linking to the promotion website.

Kuprikova alone published four YouTube vlogs, two Shorts, five Telegram posts, twenty-one Instagram stories, three VK posts, twenty-seven VK stories and a RuTube version of her trip video. Across the three creators, the campaign produced more than one hundred individual pieces of content.

Part of that output fell outside the contracted scope. The creators published additional vlogs, posts, and stories beyond the agreed deliverables, and this bonus content generated close to 400,000 views, which represents roughly a quarter of the total coverage.

Retail and e-commerce wave

The second wave ran in March and moved the campaign to the point of purchase. Kuprikova filmed a scripted piece that opens outside a Globus supermarket, cuts back to her Sri Lanka footage, then returns to the aisle where she finds the Paradise Collection, walks through the flavors, shows the QR code on the pack, and names both the grocery chains and the marketplaces that stock the range. The wave used short vertical video only, running as a YouTube Short with reposts, as a Telegram video post, and as a TikTok publication on the same day.

Campaign management

Russian rules require online advertising to be registered, so RMAA Agency handled ORD registration for the placements where the regulation applies and recorded the status format by format in its reporting.

Delivery tracking continued after the tour finished. Several long-form videos remained in approval at the end of January, and the agency followed each one through to publication in the first half of February. Reporting was maintained at placement level, with links, dates, view counts, and the ratio of actual to forecasted coverage recorded for every piece of content.