IFA 2025 marketing review: How technology brands can turn exhibitions into global content growth engines

In the past, when technology brands participated in IFA, the most concerned things were the booth area, the number of products and the scale of the press conference.

However, a review of IFA 2025 reveals that the value of a global technology exhibition is no longer limited to "putting new products in front of consumers." Leading brands are redesigning the exhibition into a complete global communication system: manufacturing topics before the exhibition, content produced during the exhibition, and continuing to amplify the influence through overseas creators, vertical media, e-commerce channels and local retail after the exhibition.

2025年9月，IFA在德国柏林举行。官方数据显示，本届展会吸引了来自49个国家的1900多家参展商和约22万名观众，展览面积超过19万平方米；展会新闻发布会数量同比增加16%，Creator Hub吸引超过1200名创作者和影响力人士，参与规模同比增长超过50%。

These numbers reveal an important change:

IFA is moving from a product showcase to a global content production site where brands, media, creators, channel operators and consumers participate together.

For technology brands that are sailing, the most worthy research in IFA 2025 is not just what Samsung, LG, TCL, Hisense, Chasing, Stone Technology, Midea and Acer have released, but how these brands transform complex technologies into an easy-to-communicate concept, a set of scenes that can be filmed, and a content link that connects cognition, trust and sales.

1. The real changes in IFA 2025: from "media coverage of the exhibition" to "exhibition organization content"

The communication model of traditional science and technology exhibitions is relatively simple.

品牌发布产品，媒体到场采访，新闻网站随后刊发报道。品牌能够获得多少关注，很大程度上取决于新闻本身的重要性，以及媒体愿意给予多少版面。

IFA 2025 is changing this relationship.

The official has not only added Creator Hub, but also configured functions such as live streaming, podcasting, product demonstrations, content production and creator communication. IFA described Creator Hub in its pre-show materials as a content space integrating studio, stage, product experience and brand cooperation, and introduced cooperation forms such as TikTok Shop to allow creators to conduct product displays, live interactions and shopping on site. Transformation.

This means that creators are no longer just "peripheral communicators" invited to visit the booth, but are included in the infrastructure of the exhibition.

For brands, a press conference used to generate dozens of media reports; now, the same press conference can be broken down into in-depth YouTube reviews, TikTok Short Video, Instagram lifestyle content, live slices, podcast discussions, product comparisons and behind-the-scenes tidbits.

The actual results officially released by IFA also confirm this direction: Creator Hub will attract more than 1200 creators in 2025, a year-on-year increase of more than 50%.

从营销角度看，IFA 2025已经不是简单地把观众带到产品面前，而是在帮助品牌完成三件事：

First, turn complex technology into a live experience that can be photographed and understood.

Second, allow creators from different countries and languages to localize content.

Third, let an exhibition event have a longer dissemination cycle on different social platforms.

This also provides a new criterion for judging brand marketing performance: an excellent exhibition is not just about "having a lot of people", but whether the site can continue to produce content that is recognizable, distributable, and can promote consumer decisions.

2. Samsung: Not competing for the sound of a single product, but competing for the "naming rights" of the industry

三星在IFA 2025使用的核心主题是：

AI Home：Future Living, Now。

三星没有把传播主线集中在某一台电视、冰箱或洗衣机上，而是将Bespoke AI家电、Vision AI显示设备、Galaxy AI移动产品和SmartThings统一放进“AI家庭”概念之中。

Before the opening of the exhibition, Samsung first released the "SmartThings Meets AI Home" brand video to explain the practical meaning of an AI family through scenes such as air conditioning, lighting, family affairs, sleep and pet care. In addition to being launched on Samsung's official social channels, the film was also released on outdoor screens such as Times Square in New York and Piccadilly Circus in London.

At the IFA site, Samsung set up a digital facade about 50 meters wide at the entrance of the CityCube, working with digital artist Maotik to transform data flow into large-scale media art with the theme of "wind".

This marketing design includes at least three levels.

First of all, Samsung first uses "AI Home" to define the life that users should aspire to, and then makes specific products the entrance to this life.

Secondly, Samsung does not rely on one press conference to complete all communication, but uses branded videos, global outdoor media, digital art, live experiences and news releases to form continuous contact points.

最后，50米数字立面不仅是展台装饰，也是媒体封面、短视频背景和观众拍照地标。它把抽象的AI生态压缩成了一个可以被全球传播的视觉符号。

从海外红人营销角度看，三星的优势在于建立了清晰的内容母题。

创作者可以分别从节能、宠物照顾、睡眠、影音娱乐和设备互联切入，但所有内容最终都会回到同一个概念：AI Home。

This approach can reduce the fragmentation of information between creators in different countries. Brands don't need to require everyone to use the exact same script, they just need to ensure that different content serves the same brand perception.

Samsung's case shows that the strongest marketing ability of a leading technology brand is not to explain more parameters, but to define in advance the terms consumers use when understanding an industry.

3. LG: Turn the smart home ecosystem into a "life experience drama"

The theme used by LG at IFA 2025 is "LG AI Appliances Orchestra", or "AI Appliances Symphony Orchestra".

LG compares ThinQ AI to a conductor, and compares refrigerators, washing machines, air conditioners, cleaning devices and other smart home products to musical instruments played together. The brand also puts AI agent Furon at the center of vision, making complex device collaborations more intuitive. Before the exhibition started, LG used the visual expression of "conductor and appliance orchestra" in its media invitation letter and announced that it would display the booth content to users who were unable to attend through the LG Global YouTube channel.

现场展台则被拆分为多个具有明确内容功能的区域。

Hero Zone uses the home appliance orchestra to present the overall AI Home concept;Fit & Max Zone restores European homes and compact spaces;AI Core Tech Zone explains AI motors, cleaning and energy-saving technologies;AI Home Zone displays real-life scenes through voice, automated processes and personalized settings. LG also demonstrated the Spielraum concept, extending the smart home experience to vehicles.

Both LG and Samsung are talking about the AI family, but the communication methods are different.

Samsung is more like formulating an industry language that emphasizes platform, ecology and unified entrance;LG is more like directing a life drama that allows consumers to see how AI works in the process of getting up in the morning, cooking, laundry, cleaning and traveling. Work collaboratively in the background.

This spatial narrative is particularly suitable for overseas creators.

Home creators can focus on space and design, maternal and child or family life creators can discuss convenience, energy-saving content can enter the AI Core Tech Zone, and technology bloggers can explain ThinQ ON and device interconnection.

同一个展台因此能够服务多个内容垂类，而不是让所有达人拍摄高度相似的“展台参观视频”。

LG还针对欧洲住宅空间强调零间隙铰链、紧凑安装、能源效率和嵌入式解决方案。

The marketing logic behind this is: The truly effective localization is not to translate global advertisements into local languages, but to let consumers see the specific state of the product after it enters their homes.

4. TCL: Use Olympic IP to attract traffic and use design cooperation to reshape high-end awareness

TCL will continue to use the "Inspire Greatness" brand theme at IFA 2025 and bring its global Olympic partner status to the booth.

The brand has set up interactive areas related to the 2026 Milan-Cortina Winter Olympics, introduced the Winter Olympics mascots Milo and Tina, and displayed ultra-large screen TVs, QD-Mini LEDs, air conditioners, refrigerators, washing machines and mobile devices through sports scenes.

Sports IP is not simply a brand Logo exposed here.

电视的尺寸、亮度、刷新率和声音原本是相对抽象的参数；进入奥运观赛场景后，它们可以被转化为“看清高速运动”“获得更沉浸的比赛体验”和“将客厅变成观赛现场”。

这种转化对创作者内容十分重要。

普通消费者未必愿意观看一段解释背光分区的长视频，却很容易理解一台大屏幕能否呈现滑雪、冰球或速度滑冰中的高速画面。

TCL also launched NXTHY at IFA globally and partnered with sound, furniture, materials and design partners such as Bang & Olufsen, Roche Bobois, Castelli 1938, Alcantara and Chris Lefteri Design.

The significance of this step is that TCL no longer only wants to be understood as a company that sells TVs and home appliances, but is trying to use sports, art, furniture and material design to enter the context of high-quality lifestyle.

From the perspective of brand marketing structure, TCL has formed a relatively complete combination:

Sports IP is responsible for creating emotion and global attention; display technology is responsible for proving product capabilities; high-end design cooperation is responsible for improving brand texture; and all categories of smart homes are responsible for expanding consumers 'imagination of brand boundaries.

For overseas brands, the enlightenment of the TCL case is that IP cooperation can only form long-term brand assets when it can return to product use scenarios. Simply displaying sponsorship identity can only gain exposure, and the connection between product, content and IP will form a memory.

五、海信：把足球赞助变成显示技术的“真实使用理由”

Hisense will use "AI Your Life" as the theme of its exhibition at IFA 2025 and organize audio-visual and smart home communication around "Own the Moment".

Hisense, Gorenje and ASKO brands jointly use an exhibition area of nearly 3900 square meters. At the same time, Hisense announced during IFA that it will continue to become an official sponsor of the 2026 FIFA World Cup.

Unlike many less relevant brand sponsorships, there is a natural usage relationship between football and television.

Large-scale football events around the world can provide specific consumption scenarios for large screens, colors, sports pictures, sound and low latency. Therefore, when Hisense simultaneously displays a 116-inch RGB-MiniLED TV, laser display and audio-visual system, World Cup sponsorship is no longer just a popularity asset, but also a content portal to explain the value of the product.

Hisense also completed the first public display of Dolby Vision 2 with Dolby at IFA, and used cooperation with Devialet, Paris Opera House and others to strengthen audio-visual professionalism.

这一组合可以被理解为三层信任结构：

FIFA provides global sentiment and public awareness;Dolby, Devialet and other technical and audio-visual partners provide professional endorsements;RGB-MiniLED, large screen and audio products are responsible for completing practical experience certificates.

From the marketing perspective of overseas creators, the advantage of this strategy is that the content is naturally malleable.

Technology creators can explain display technology, football creators can create game viewing scenes, home entertainment bloggers can renovate living rooms, and game masters can create content around refresh rates, delays and immersive experiences.

An IFA launch can therefore be extended to multiple follow-up marketing nodes such as World Cup pre-ups, Black Friday, Christmas, Super Bowl or local leagues.

Hisense's case shows that brand sponsorship should not be regarded as a separate public relations project, but should become an important source of material for content planning and product sales throughout the year.

六、追觅：用“工程奇观”突破圈层，再用全品类生态承接流量

IFA 2025期间，追觅最具传播性的产品之一是Cyber X概念技术。

Cyber X通过仿生四履带系统运送扫地机器人上下楼梯，品牌资料显示，该系统能够适应不同阶梯结构，支持最高25厘米的台阶，并以约0.2米每秒的速度移动。

对于普通消费者而言，这项技术最有价值的地方并不是参数本身，而是其传播画面极其清晰：

扫地机器人可以上楼。

This sentence requires no technical background or complex explanation. Consumers only need to see a few seconds of demonstration to understand the multi-floor cleaning problem the product is trying to solve.

This kind of "engineering spectacle" has typical exhibition communication advantages: it can be understood at a glance, can be demonstrated on site, is suitable for Short Video, and corresponds to real life pain points.

However, the pursuit does not stop IFA dissemination only on conceptual products.

According to brand disclosure, Chasing used a complete exhibition hall at IFA 2025, displaying 22 product lines, 15 of which were newly expanded categories, covering areas such as cleaning, mowing, cooking, laundry and air management. The brand also disclosed its e-commerce, retail stores, service centers and localized channel layout in Europe.

The resulting propagation links are:

Cyber X负责制造全球话题；成熟清洁产品负责证明品牌的商业基础；全屋智能生态负责扩大品牌边界；欧洲零售和服务体系则负责承接购买信任。

这也是概念产品在大型展会上的正确用法。

概念产品不一定需要立即承担销量，但必须帮助品牌证明工程能力，并将注意力引导到已经可以销售、交付和服务的产品体系。

For the overseas celebrity marketing team, this means that we cannot just arrange for talent to shoot "robots that can climb stairs." Content planning should also continue to answer: What mature products the brand currently has, in which markets these products can be purchased, and why consumers can trust its long-term service capabilities.

7. Stone Technology: Use one sentence "Inside and Out" to explain category expansion

The themes used by Stone Technology at IFA 2025 are:

Rocking Life, Inside and Out。

The brand launched the RockMow and RockNeo mowing robot series for the first time at the exhibition, including RockMow Z1, RockMow S1 and RockNeo Q1, extending the navigation, obstacle avoidance and automation capabilities previously mainly used in indoor sweeping robots to outdoor courtyards.

当一家消费者熟悉的扫地机器人品牌进入割草机器人领域时，可能面临一个品牌认知问题：消费者会认为这是自然扩张，还是缺乏关联的跨界？

“Inside and Out”解决的正是这个问题。

它把品牌能力从“室内清洁”重新定义为“室内外家庭机器人服务”。割草机器人由此不再是突然增加的SKU，而成为家庭自动化版图的一部分。

石头科技还在同一场展会上展示了扫地机器人、洗地机、手持吸尘器和洗烘产品，并公布部分产品在欧洲市场的价格和上市信息。

从内容营销角度看，这种主题具有很强的整合能力。

室内清洁达人、庭院生活达人、宠物家庭、智能家居创作者和户外工具评测者都可以参与传播，但品牌仍然能够通过“Inside and Out”保持统一认知。

石头科技的案例说明，品牌进行品类扩张时，传播工作的核心并不是让消费者记住更多产品名称，而是建立一个足够清晰的新品牌边界。

8. Beautiful: Transforming the language of global technology into the problem language of European families

With the theme of "Master Your Home" at IFA 2025, Midea organizes its product capabilities into SPACE MASTER, XPRESS MASTER, SMART MASTER, ECOMASTER and other systems, and demonstrates complete home solutions through embedded kitchens, refrigerators, cooking, air management and cleaning scenarios.

The importance of this naming method is that it does not organize and disseminate completely according to traditional product categories, but organizes content according to consumer needs.

SPACE MASTER corresponds to space utilization;XPRESS MASTER corresponds to time efficiency;SMART MASTER corresponds to intelligent operation;ECOMASTER corresponds to energy management.

For consumers, this is easier than memorizing refrigerator volume, washing machine model and oven technology individually.

美的还强调了嵌入式厨房、欧洲橱柜适配、北欧低温环境、家庭大容量和节能表现。例如品牌称，ECOMASTER可通过AI和实时数据处理优化家电能耗，部分场景下最高可减少约30%的能源使用。

From the perspective of overseas marketing, Midea's advantage is not to create the strongest visual spectacle, but to translate technology into issues of concern to European families:

Is there enough room space?

Can products be integrated into cabinets?

Can it operate stably in winter?

Can energy costs be reduced?

一台设备能否承担更多功能？

这类内容特别适合与当地家居、生活方式、节能和家庭管理创作者合作。

因为本地创作者的价值不只是“介绍产品”，而是帮助品牌验证产品在当地住宅、气候、饮食和生活习惯中的适用性。

九、宏碁：用高密度新闻矩阵覆盖不同垂直媒体

与家电品牌相比，宏碁在IFA 2025采用了更典型的消费电子传播方式。

The brand focuses on releasing commercial AI PCs, projectors and various types of computing equipment on Media Day. Taking TravelMate X414AI as an example, Acer's official materials also provide core selling points, product specifications, regional selling prices, time to market, image materials and Microsoft executive reviews, as well as IFA 2025 media package.

This form of release may seem traditional, but it is highly efficient in communication.

Commercial technology media can focus on AI productivity and small and medium-sized enterprise applications; hardware media can analyze processors, screens and performance; office media can discuss mixed work; and sustainability media can focus on the materials and energy consumption design of Vero projectors.

Acer is not trying to get all media and creators to tell the same grand story, but by standardizing news materials to prepare content portals that can be used directly for different vertical channels.

Evaluations from ecosystem partners such as Microsoft have helped Acer put its products into the larger industry narrative of Windows, Copilot+ PC and AI Office.

对出海科技品牌而言，这种“媒体覆盖型营销”同样值得参考。

Not every product can create a visual spectacle like a robot climbing stairs. For notebooks, software tools and B2B products, communication efficiency depends more on whether the information is clear, whether the materials are complete, and whether different vertical media can quickly find perspectives relevant to their own audiences.

Behind the ten or eight brands is the same set of exhibition content growth formulas

Putting the above brands together, we can see that most of the outstanding marketing projects in IFA 2025 follow a similar path.

1. Occupy a concept first

Samsung occupies "AI Home", LG uses "AI Appliances Orchestra", Stone Technology uses "Inside and Out", and Midea reorganizes product capabilities with "Master Your Home".

概念的作用不是装饰，而是把复杂产品矩阵压缩成一个统一认知。

2. 再建立具体场景

LG还原欧洲住宅，TCL建立奥运观赛空间，海信把大屏技术放入足球赛事，美的围绕厨房、洗护和能源管理组织展台。

场景能够帮助消费者回答“这项技术与我有什么关系”。

3. 制造一个视觉符号

Samsung's 50-meter digital facade, sought climbing system, and TCL's Winter Olympics interactive area are all visual assets suitable for media covers and Short Video dissemination.

In an information-intensive exhibition environment, technology without visual symbols can easily be overwhelmed.

4. Introducing external trust

TCL uses Olympic IP and design partners, Hisense connects FIFA, Dolby and Devialet, and Acer introduces ecosystem partners such as Microsoft.

External endorsements can reduce the cost of understanding new technologies and new brands, but only if there is a real correlation between the partner and the value of the product.

5. 将注意力连接到商业转化

追觅强调欧洲零售和服务体系，石头科技公布产品价格和上市安排，宏碁在发布材料中明确区域售价和渠道时间。

The truly complete exhibition marketing cannot end where "the scene is very lively", but let consumers know when and where the products can be bought, and whether the brand can provide long-term services.

11. From the perspective of MCN at sea: What brands need is not a list of talents, but a content supply chain

Creator marketing is moving from an ancillary tactic in social media to an independent media channel.

IAB data shows that American creators 'advertising spending will reach approximately US$37 billion in 2025, a year-on-year increase of 26%;48% of advertising buyers already regard creators as a "must-buy" channel. The goals of brand use creators are no longer limited to exposure, but also include gaining new audiences, building trust and driving sales transformation.

In this context, when technology brands participate in IFA, they can no longer understand overseas celebrity marketing as "inviting a group of talented people to check in at the booth."

一套成熟的展会内容供应链至少需要完成六项工作。

First, determine the communication theme based on the market and population, rather than directly translate headquarters press releases.

Second, split content forms based on the characteristics of platforms such as YouTube, TikTok, and Instagram.

Third, hierarchical the functions of talents: head creators are responsible for sound volume, mid-waist creators are responsible for professional interpretation, and vertical and long-tail creators are responsible for local community penetration.

Fourth, prepare scenes, interview objects and presentation processes for creators that can be truly experienced, rather than prescribing every expression.

Fifth, clarify the material use rights, advertising authorization, editing rights and cross-channel reuse methods before cooperation.

第六，将自然内容、全球PR、付费广告、电商页面和零售渠道连接起来，使一条优质内容能够被反复利用。

对于吃鲸科技（MakeWonder）这类以海外红人营销为核心，并整合品牌策略、全球PR和PUGC素材生产能力的出海营销机构而言，真正的服务价值也不应只是提供达人资源，而是承担展前策略、现场内容调度和展后增长放大的组织角色。

例如，展前可以通过趋势内容、达人预告和产品悬念积累搜索；展中以探展、实测、采访和直播形成内容爆发；展后再将高质量素材用于广告投放、电商详情页、品牌官网和营销节点促销。

这样，一次持续数天的IFA参展，才有可能转化为持续数月的全球内容资产。

十二、出海品牌参加大型科技展，应该如何规划内容节奏？

Pre-show: Establish topics instead of announcing all answers in advance

Brands can start layout four to eight weeks before the exhibition.

This stage is suitable for releasing industry insights, user pain points, concept previews and creator suspense content, and completing talent screening, product delivery, content training and shooting arrangements in advance.

The goal of pre-show communication is not to complete all the new product information, but to let the target audience know what problems the brand will solve at IFA.

During the exhibition: Establishing a content command system

展会期间的信息密度极高。如果缺少统一调度，达人可能集中在同一时间到场，拍摄高度相似的内容，并错过最有价值的采访和产品演示。

品牌需要根据国家、语言、平台和内容方向安排不同时间段，同时准备技术负责人、产品经理、用户场景和后台素材。

内容可以覆盖第一印象、深度体验、创始人采访、产品对比、幕后故事、直播和街头反馈，而不是全部停留在“我来到了某某展台”。

展后：将内容转化为长期资产

The end of the exhibition does not mean the end of communication.

Brands can filter the best performing content based on viewing duration, interaction quality, comment keywords, search growth, official website visits, sales leads and actual conversions.

Some of them are used for paid delivery, some go to the product details page and official website, some support media public relations and channel sales, and the other part can be re-edited for subsequent nodes such as Black Friday, Christmas season and new product launches.

The final result of exhibition celebrity marketing should not be just a posting link, but a global library of creative materials that has been verified and continuously reused.

Conclusion: IFA 2025 is not competing for booth traffic, but for global narrative rights

IFA 2025说明，大型科技展会并没有因为线上发布和社交媒体而失去价值。

相反，当产品信息越来越容易获得，实体展会的作用正在从“提供信息”转向“制造真实体验和可信内容”。

三星通过AI Home争夺行业命名权；LG将智能生态转化为生活体验；TCL和海信把体育情绪连接到显示技术；追觅利用工程奇观实现破圈；石头科技用统一主题解释品类扩张；美的以本地生活问题重新组织技术；宏碁通过内容矩阵提高媒体覆盖效率。

这些案例共同证明：

科技越复杂，传播越需要简单；品牌越全球化，内容越需要本地化。

In the future, what brands really compete at global exhibitions such as IFA, CES and MWC is not just whether their products are leading, nor who has a bigger booth.

More importantly, who can transform a complex technology into an easy-to-understand sentence, a picture worth shooting, a set of content that is consistent with local culture, and a complete growth link extending from cognition, trust to purchase?

When exhibitions become content factories, overseas celebrity marketing is no longer just traffic purchasing.

It is becoming an important infrastructure for technology brands to establish global narrative rights.

Data description: The exhibition scale, brand release and product information are mainly based on IFA and official public information of each brand; the advertising data of industry creators comes from IAB. When it comes to brand promotion caliber and technical data, they are all expressed in accordance with brand public information. The relevant introduction of Whale Eating Technology is based on the information provided by the company.