LOVE LOUDER: How an Oklahoma City Agency Made a Three-Week-Old Brand Look Like an Institution
An integrated campaign case study by Prism Haus | Oklahoma City | May–June 2026
Brand strategy, creative direction, experiential marketing, community activation, earned media
THE SHORT VERSION
In June 2026, Prism Haus created and self-funded Love Louder, a community visibility campaign built around a single idea: in a moment when division gets amplified faster than compassion, people should be encouraged to show up louder for one another. There was no client, no meaningful media budget, and no guarantee that anyone in Oklahoma City would care.
By the end of the campaign, Love Louder had generated 215,955 billboard impressions over five days on 39th Street, 13,500 views across social platforms, 700 or more conversations at our booth during Pride on 39th, 340 branded items in people's hands, two community events, thirteen participating sponsors including Prism Haus itself, one editorial feature in The Oklahoman, and 537 people who voluntarily gave us their contact information.
Four of those people have since reached out about working with us, and at least one of our sponsors booked paying clients directly out of the campaign. Those two facts matter more than the large numbers above, and this case study will explain why.
THE CHALLENGE
Most marketing agencies demonstrate their capability by marketing themselves. We wanted to prove something considerably harder, which was that we could take an idea nobody had asked us for, build enough gravity around it that an entire city paid attention, and bring a dozen other local businesses along with us while we did it.
The constraints were genuine. There was no client and no brief, which meant every dollar spent and every hour worked came out of our own business. The Prism Haus brand itself was only three weeks old, having launched in May 2026 out of what had previously been MacKenzie Morris & Associates, so almost nobody in the market recognized the name. Pride Month in any American city is already saturated with brands that arrive for thirty days with a rainbow version of their logo and no real relationship to the community they are borrowing from. And the message we wanted to put on a billboard carried actual risk in Oklahoma, publicly, with our name attached to it.
Stated plainly, our strategic problem was never visibility. It was credibility at scale. The question we had to solve was how a small, newly renamed agency in Oklahoma City could look and feel, immediately and without a long track record, like an organization people could trust.
THE IDEA
"In a time where the world wants us to stay quiet, LOVE LOUDER."
That was the line, and it went onto a hot pink billboard on 39th Street before it went onto everything else we made.
The campaign was deliberately political, and we want to be precise about what we mean by that, because a great deal of brand work describes itself as bold while carefully avoiding any position that could cost it something. Love Louder was intended to draw a line in the sand and show our community who we are and what we believe in. It said that we care about our people and that we are not going to be quiet about it. In a state where saying that publicly carries real weight, saying it plainly was the entire point of the exercise. A softer, more universally acceptable line would have been safer for us and would have meant nothing to anybody.
WHAT WE BUILT
Love Louder was structured as a multi-platform campaign rather than a single activation, because a message only becomes familiar when someone encounters it in several different contexts.
The billboards ran beginning June 1, including a highly visible placement along the route toward 39th Street, the heart of Oklahoma City's LGBTQ+ district, which alone delivered 215,955 impressions across five days.
Chalk the Block, held June 4, was a free public art event. We hand-distributed flyers through the 39th Street District, the Plaza District and the Paseo, then invited Oklahoma City to cover the sidewalks of 39th Street with messages of encouragement, love and support ahead of the parade. The chalk itself was donated by campaign sponsors.
The community video campaign collected submissions from real Oklahoma City residents rather than actors working from a script, each answering what Pride means to them, what allyship looks like in practice, and what it means to love louder.
At Pride on 39th we built a physical presence designed to be impossible to walk past: a hot pink parade float, a hot pink booth, a glitter bar, a tattoo bar, a prize wheel, and 340 branded items including stickers, lighters and clacker fans distributed by hand.
Thirteen sponsors participated, twelve of them businesses other than our own, contributing materials, services, paint, chalk, balloons, photography and product to an idea that ultimately belonged to all of us rather than to Prism Haus alone.
Underneath all of it ran a deliberate earned-media operation, which is the part of this campaign that is easiest to overlook and hardest to replicate.
THE RESULTS
In terms of reach, the campaign delivered 215,955 billboard impressions, 13,500 views across social platforms, and one editorial feature in The Oklahoman, which named Love Louder among "The best moments we saw at Pride on 39th through photos" on June 8, 2026.
In terms of engagement, more than 700 people came through our booth, 68 people participated in Chalk the Block, and 340 branded items went home with attendees.
In terms of pipeline, 537 people opted in through our campaign form, and four inbound business conversations have come out of that list to date.
In terms of partnership, thirteen sponsors activated alongside us, and the return did not flow in only one direction. Party Mommy, one of our sponsors, had people call and book her services as a direct result of her involvement, because the campaign put her in front of a community that then felt genuinely valued by her presence in it. That is the outcome that makes a second year of sponsorship an easy conversation rather than a pitch.
WHY IT WORKED
This is the section most case studies skip, usually because the honest answer is that nobody involved is entirely sure. What follows is our actual read on the mechanics.
One, a single color did the work of a media budget. The billboard was hot pink, and so were the shirts, the booth, the float and the stickers. That consistency was not an aesthetic preference, it was a recognition strategy. By the time somebody encountered the fourth hot pink thing, they no longer needed to read a logo to know who was behind it, because the color had already done the identifying. When you cannot afford to buy frequency, visual cohesion manufactures the feeling of it, and a campaign that looks like one unified thing from five different angles will always feel larger than a campaign with five different looks and the same money behind it.
Two, the line worked precisely because it took a position. "In a time where the world wants us to stay quiet, love louder" is not a slogan that could be lifted and applied to a mattress company, which is exactly the quality that made it repeatable. It only functions if the people saying it mean it, and it only lands because there is some cost attached to saying it out loud. Specificity and stakes are what make a message travel between strangers, while neutral messaging is forgettable more or less by design.
Three, physical presence recruited an audience that our marketing never reached at all. Chalk the Block had 37 people register in advance and 68 people participate on the day. The additional 31 were never marketed to in any form. They were walking down 39th Street, noticed a group of people sitting on the sidewalk drawing, understood immediately what was happening, and decided they wanted to be part of it. That gap between registration and attendance is the clearest argument for experiential marketing we have, because a visible experience in public space recruits its own audience in a way that advertising simply cannot.
Four, the opt-in was tied to an experience rather than to a discount. Those 537 people handed over their contact information not in exchange for a coupon code but to spin the prize wheel, to get into the glitter bar and the tattoo bar, and to take home something they liked. The exchange felt like joining something that was already happening rather than paying for a discount with your inbox, and a list assembled that way behaves differently over time, because the people on it associate your brand with a genuinely good day instead of a transaction.
Five, publishing before the results existed was a strategy rather than an oversight, and it is the reason we ended up in the paper. We wrote and published our campaign articles and blog content ahead of and during the campaign rather than after it, and we distributed a press release alongside a complete media kit so that any journalist who searched for Love Louder would immediately find a body of substantive, quotable material waiting for them. The kit included story angles, interview availability, campaign details and visual coverage opportunities, which made featuring us close to effortless for a newsroom working against a deadline. Earned media rarely rewards the organization with the best story. It rewards the organization that made the best story easiest to tell, and being recognized by The Oklahoman as one of the best moments at Pride on 39th was a direct product of that preparation.
Six, the campaign made us look substantially larger than we were. Our favorite piece of evidence from the entire campaign is not a number at all. After the parade, somebody commented on a photograph asking whether MacKenzie was a brand ambassador for Prism Haus. MacKenzie is the founder and CEO. The assumption stung for a few seconds and then became the most useful data point we gathered, because it meant that a person with no prior knowledge of our company had looked at the booth, the float, the team and the branding and concluded that these people must work for an established organization with an ambassador program. A brand that was three weeks old read as an institution. That is what cohesive creative direction actually buys a small company: not merely attention, but the assumption of scale.
WHAT THIS SAYS ABOUT HOW WE WORK
Love Louder had no client, which meant there was nothing for us to hide behind and nobody else to credit or blame. The strategy, the creative direction, the production, the partnerships, the media relations, the activation and the measurement were all ours, which makes it the clearest available example of what Prism Haus does when we are given a blank page.
What we do is build integrated campaigns that make people care, and then show up in the physical world to prove that they do.
If you are working on something that needs people to care about it, we would like to hear about it. Reach us at info@prismhaus.co or at www.prismhaus.co.