Australians have a complicated relationship with their living rooms. They want spaces that feel personal, coordinated, and liveable — but most don't know how to get there. IKEA's own Life at Home research identified four persistent frustrations:
Meanwhile, IKEA's brand inspiration score was falling. Nearly half of Australians no longer felt IKEA gave them good ideas for their home. The opportunity wasn't to shout louder — it was to listen harder.
IKEA + you was built on a simple premise: real families, real frustrations, real solutions. Ten families — one per primary market area, recruited through IKEA Family and social media — co-created living room solutions alongside IKEA's home furnishing experts. Local relevance at a scale IKEA Australia had never attempted before.
I led the Rhodes PMA end-to-end: discovery, in-home user interviews, research synthesis, stakeholder alignment, and final delivery — both in the family's home and recreated in a 25m² in-store installation at IKEA Rhodes.
Each family's story became the content. Their lived experience, captured from start to finish, was distributed across every touchpoint — in-store, online, social, and earned media — with the aim of reaching the many Australians who share the same frustrations.
Since launching in February 2018, the campaign reached over 15 million Australians — more than half the population. Brand inspiration scores climbed from 48% to 61%, against a modest target of +2%. Inspiration visits to IKEA.com.au rose +67%, with mobile session time up +68 seconds.
In-store, 65% of total store visitors engaged with the IKEA + you installations. IKEA Tempe saw visitor numbers three times higher post-launch. Store events generated AUD $6.8M in sales, exceeding target by AUD $5.6M — with a further AUD $1M anticipated in website basket sales.
Across all ten PMAs, inadequate storage was the most immediate problem — but it masked deeper issues. Solving storage unlocked a family's ability to think about personalisation, coordination, and identity. It was the entry point, not the destination.
Recruiting actual families removed ambiguity from the design process entirely. The Bluetts' four-door transit problem, Ali's art supplies, Fin's gaming setup — these specifics produced solutions with precision impossible to reach through generalised audience thinking.
The most impactful design decisions weren't about product selection — they were about surfacing who the family already was. Pulling trinkets, photos, and personal objects into the room created warmth no catalogue can prescribe. Expertise isn't telling people what to buy. It's helping them see what they already have.
Set on the high side of a leafy Hunters Hill street, the Bluetts' renovated open-plan living space had good bones but needed direction. Everyday clutter had taken over. The room felt like a thoroughfare — four entry points meant nothing had a home, and nothing stayed put. Their warmth and identity were missing.
John and Lesley are full-time professionals. Alison fills the space with art supplies — painting, sculpting, making. Finlay needs room to game. Tuzi the rabbit has opinions about the sofa. Four people using one room for completely different things, at the same time, every day. The room had to work harder.
From discovery to reveal — the Bluett family makeover documented from start to finish.