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BNAH needed paid media support that could lift both traffic and online sales. The work sat across Meta, Google and TikTok, with the brief to grow click volume and convert that demand into online revenue year on year. If the engagement had optimised for clicks alone, the account could have looked busy without becoming more commercial. If it had chased sales with no attention to the click path, there would have been no way to see which platform was doing the work.
Meta, Google and TikTok do not behave the same way. Social demand is created. Search demand is captured. TikTok sits in a different creative rhythm again: shorter, more native, less patient with creative that looks like an ad from another platform. Running them as three disconnected accounts produces three disconnected stories. BNAH needed them managed as a paid media system, with campaign delivery and optimisation that could be compared on the same commercial outcomes.
The operational challenge was therefore coordination as much as media buying. Creative, bidding, and landing had to be good enough on each platform, and the reporting had to be honest about both clicks and online sales over a 12 month window. Segments was asked to support that, not to install a single-channel hero campaign.
A three-channel paid program that only merchandises to people who already know the brand will eventually run out of cheap familiarity. A program that only prospects, and never shows the range to people already in market, wastes the demand it just paid to create. BNAH needed both. Prospecting had to find new demand on Meta and TikTok, and capture intent on Google. Merchandising had to make the range visible to people who were already close: product, offer, and a reason to click through now rather than later. Mixing those jobs in the same ad set, the same campaign, or the same creative brief is how an account becomes noisy and hard to read.
There is also a measurement challenge hiding inside a three-platform brief. If each channel reports in its own language, the year-on-year story fragments. BNAH needed clicks and online sales read as business numbers, not as three platform dashboards that could not be reconciled at the end of 12 months. Creative testing without a shared commercial read is entertainment. Measurement without a view of how prospecting and merchandising share the account is a set of isolated wins. The challenge was to structure the program so both could be seen.
Stated plainly: BNAH needed a three-channel paid program that could grow total clicks and online sales together, over 12 months, without treating Meta, Google or TikTok as a side project of the others.
BNAH partnered with Segments to grow online performance through paid media. The engagement focused on Meta, Google and TikTok as the primary acquisition channels. The job was not to pick a favourite platform and starve the others. It was to support paid media growth across all three, so click volume and online sales moved together over a full twelve-month year-on-year window.
That pairing matters. Clicks without sales is a traffic story. Sales without a view of the click path is a black box. BNAH needed a partner who would run Meta, Google and TikTok as one paid system, then read both numbers on the same clock. The commercial ambition sat behind those journeys: more of the right clicks, and more of those clicks turning into online sales, measured year on year over 12 months.
Online demand does not arrive from one door. Some buyers are interrupted on Meta or TikTok and need a reason to click through. Some are already looking and arrive via Google. The journeys are different, the creative is different, and the landing experience has to hold either way. BNAH's brief asked Segments to cover that full paid mix rather than treating one channel as the whole business.
A three-channel paid program is a different kind of customer than a single-platform account. It needs a structure that can prospect and merchandise at the same time, a creative testing rhythm that does not collapse into one format, and measurement that can be compared across platforms without pretending Meta, Google and TikTok behave the same way. BNAH came to Segments with that brief already implicit in the channel list. The work was to run it as a program, not as three disconnected media buys.
BNAH needed campaign delivery and optimisation across Meta, Google and TikTok, with a view of both clicks and online sales. That is a growth brief, not a set-and-forget buy. Creative has to be tested. Prospecting has to be held apart from merchandising so the account does not only speak to people who already know the range. Measurement has to be honest about both numbers over 12 months, not a weekly screenshot from whichever platform had a good day.
The customer in this engagement is BNAH as an online business that sells through paid media. The thumbnail on this case study is an image file and is not the client. The client is BNAH. The work sat on Meta, Google and TikTok, and the result was read as year-on-year change in total clicks and online sales over 12 months.
Over 12 months, BNAH recorded a 92% increase in total clicks year on year, with online sales also up 92% YoY through paid media on Meta, Google and TikTok. The two numbers moving together is the point. Traffic grew. Online sales grew. They were read on the same year-on-year clock, across the same three platforms.
Results were measured as year-on-year change over 12 months, on total clicks and on online sales. The channels in scope were Meta, Google and TikTok. No other percentage is claimed, because none is part of the published result. The commercial read is the pairing: more people arriving, and more online revenue coming with them. Platform-level diagnostics were used to run the program. They are not presented here as extra results. The published outcome is the two 92% figures, on the same 12 month year-on-year window.
That pairing is what the three-channel structure was built to produce. A program that only grew clicks would have been a traffic story. A program that grew sales without a click path would have been unreadable. BNAH's result is both numbers, together, from paid media on Meta, Google and TikTok.
Commercially, that meant paid media was not just buying cheaper attention or more of it. It was contributing to online sales at the same rate of year-on-year lift as clicks. For a business that asked for support across three platforms, that is the outcome the brief was written for. Prospecting and merchandising had a structure. Creative had a testing rhythm. Measurement had a 12 month clock. The result of that operating design is the published pair: 92% more total clicks, and 92% more online sales, year on year.
The client is BNAH. The work was a three-channel paid program. The result, over 12 months, is a 92% increase in total clicks year on year and a 92% increase in online sales year on year. That is the full published commercial read of this engagement.
Segments supported BNAH with paid media growth across Meta, Google and TikTok, managing campaign delivery and optimisation across those channels to drive clicks and online sales. The work was structured as a program, not as three media buys that happened to share a client. Each platform had a job. The jobs were allowed to be different. The commercial read was not.
A workable structure starts with roles. Google is where intent is captured: people already looking. Meta is where demand can be created and where the range can be merchandised to people who will not search first. TikTok is a creative-led prospecting environment that rewards native work and punishes creative that was built for another platform and dropped in. BNAH's program was built so those roles were explicit. Budget, creative, and optimisation were not copied from one channel onto the next. They were designed for how each platform actually produces a click, and how that click is supposed to become an online sale.
Campaign architecture followed those roles. Prospecting sat apart from merchandising so the account could find new people without drowning the people already close to a purchase. Search captured demand that social had not created. Social created demand that search would never see. TikTok was not treated as a smaller Meta. It was treated as a third motion with its own creative standard and its own way of earning a click. Delivery and optimisation then ran against that structure, week by week, rather than against a single blended campaign that tried to do every job at once.
The point of structure is not neatness. It is so the team can see what is working. If prospecting, merchandising and search live in the same bucket, a good week cannot be explained and a bad week cannot be fixed. BNAH needed a program that could be diagnosed. That is what a three-channel structure is for.
Creative testing is how a three-channel program stays alive. Meta, Google and TikTok do not share a winning format. A static that works in a remarketing placement will not necessarily work as a TikTok prospecting idea. A search ad is a different brief again. Segments ran testing as a rhythm, not as a one-off production burst: hooks, formats, and offers tried in the environments they belonged to, with enough time in market to read, and enough discipline to kill work that was only producing uncommercial clicks.
Testing was also how merchandising and prospecting stayed distinct in the creative. Prospecting creative has to earn attention from people who do not already care. Merchandising creative has to make the range, the product, and the reason to buy now obvious to people who are already close. Using the same asset for both jobs is how an account trains the platforms on the wrong idea of who the buyer is. The testing cadence kept those jobs apart, and kept the three platforms from inheriting one another's tired ideas.
Production sat in service of that cadence. Creative was not a quarterly dump. It was a supply line for the tests the program needed to run. When a format fatigued on one platform, the structure made that visible. When a merchandising idea was doing the job on people who already knew BNAH, it was not blindly pushed into prospecting. The program could tell the difference because the campaigns were built to tell the difference.
Merchandising in a paid program is the work of showing the range to demand that already exists: product, category, offer, and a path to an online sale for people who are in market or already familiar. Prospecting is the work of creating the next wave of that demand. BNAH needed both on Meta and TikTok, and a search program on Google that captured the intent those social motions, and the rest of the market, were generating. Segments held those jobs in separate structures so optimisation could be honest. A merchandising campaign that is converting is not a reason to starve prospecting. A prospecting campaign that is generating clicks is not a reason to ignore whether those clicks become online sales.
That split also protects measurement. If everything is mixed, the year-on-year story is a blur. If prospecting, merchandising and search can be seen separately, and then rolled up to total clicks and online sales, the business can read the program as a program. That is how BNAH's paid media was run: structured, tested, and pointed at the two numbers the brief named.
Measurement was not a dashboard tour. It was a commercial read over 12 months: total clicks year on year, and online sales year on year, across Meta, Google and TikTok. Platform metrics were used to operate the accounts. They were not allowed to replace the business numbers. Clicks without online sales would have been a failed program even if a platform report looked healthy. Online sales without a view of the click path would have left BNAH unable to see how the three channels were contributing. Segments kept both numbers in the same year-on-year frame, so optimisation had a destination.
Day to day, that meant campaign delivery and optimisation against the structure above: three platforms, prospecting and merchandising held apart, creative testing in the formats each channel actually needs, and a reporting cadence that could still be summarised as two year-on-year figures at the end of 12 months. That is the paid media support BNAH asked for. That is the program that was run.
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