Top Influencer Marketing Agencies in Australia

Ogilvy has offices in Sydney and Melbourne and provides influencer services within its broader creative and communications offer. Its selected international work is relevant to Australian buyers planning a launch where creator content needs to express the same idea as the rest of the brand campaign.

Hellmann’s Smart Jar in the UK turned a product pack into a demonstration of fridge temperature. TikTok and Instagram influencers used the jar in a programme involving brand fans and food-waste campaigners. The full campaign earned more than 160 online and print coverage pieces.

For LEVEL at Barcelona Pride, creator work joined outdoor advertising, print and live activity within a sponsorship programme. The integrated campaign reported an 18% uplift in bookings and a 39% revenue increase during the campaign period.

Ogilvy fits a shortlist for a launch that needs an idea people can see in content and experience elsewhere. The cases provide a physical product demonstration and an event-led example to examine. An Australian brand team can use that work to discuss how the agency would coordinate creator production with the other parts of its launch, including shared creative approval and distribution responsibilities.

DEPT has offices in Sydney and Melbourne and manages influencer campaigns through strategy, creator sourcing and delivery. Its selected work is relevant to Australian teams deciding how a product-content pilot should develop into continuing production and how creator activity will fit with other brand channels.

For BISSELL in the Netherlands, Germany and France, the agency matched products with pet, family and cleaning creators. Demonstrations used everyday situations and individual creator styles. The programme reported 15.5M organic impressions, with product education informing the content before the agency moved toward continuing ambassador work.

The eBay relationship shows creators inside a broader social operation covering the UK and Germany. Its Love Island sponsorship programme combined creator content with social activity and reported 217M impressions and 76K organic engagements.

DEPT suits a buyer who needs both a production approach and a way to keep developing the work. The BISSELL case makes creator preparation and learning from a pilot concrete. The eBay case shows a larger ongoing operation. For an Australian brief, these are useful models for deciding which work the agency should own around the finished content.

We Are Social has a Sydney office and combines social creative work with managed influencer campaigns. Its international cases are relevant to Australian buyers looking for an agency to build the central social idea, including how creators introduce it and how an audience can respond.

Barilla’s Rooftop Match in Italy used a tennis story and a brand ambassador to create a film with wider earned attention. The campaign reported 35M video views. The work gives buyers a concrete example of creator and ambassador content supporting a shared brand story.

For Pringles, star influencers helped introduce a TikTok challenge that viewers could take part in. The case reports 4.7B challenge views, including community participation, and a 13% average TikTok engagement rate. Its measurement also included brand lift in Italy and France.

We Are Social is suited to a launch where the content needs to do more than present a product feature. The cases show a watchable story and a repeatable participation format. An Australian team can use those models to decide what it wants people to do with the content, then assess the agency’s proposed creative and distribution plan.

1000heads has offices in Sydney and Melbourne and combines creator partnerships with content and community work. Its selected cases are useful for Australian teams buying an ongoing social programme, particularly when the product needs an accessible explanation or the brand needs fresh ways to appear in people’s feeds.

Google’s Gemini Live programme used creators, social ads and street interviews to show the feature in conversational situations. The campaign reported 15.4M social views and a 25% relative lift in unaided awareness during the programme. Street interviews used Gemini to roleplay awkward family conversations, giving the feature a concrete use within the entertainment.

For Kerrygold across the UK, US, Ireland and Germany, the agency developed new content series and broadened creator collaborations within a wider social programme. It reported a 120% increase in recipe saves across that work.

These cases support a shortlist for continuing content with an agency involved in the creative direction. Google shows how a feature can become material for creators; Kerrygold shows how a consumer brand can vary its presence over time. For an Australian assignment, the useful fit is that connection between creator ideas, repeated production and audience response.

Pepper is a London agency whose published travel work explicitly includes Australian audiences. It manages creator campaigns and paid amplification, making it relevant to buyers who need the production plan and the use of content in advertising considered together.

For Goodnotes, study, journaling and lifestyle creators showed the app’s features across Brazil, Canada, Germany, Mexico, the UK and the US. The combined campaign reported 24.5M+ impressions and 1.8M engagements. Paid Meta distribution added a reported 37K+ link clicks, a specific paid-channel measure within the wider programme.

For Xero Go in the UK, finance-focused creators addressed self-employed audiences through Instagram and TikTok content supported by boosted ads. Impressions exceeded the campaign target by 279%, a comparison with the planned delivery rather than a sales-growth figure.

Pepper suits an Australian shortlist when useful product content and its distribution are closely linked in the brief. Its named cases show creators demonstrating tools in familiar situations, with paid support extending the content. The proposed scope should make the Australian audience requirement and the content permissions clear so production delivers assets the media plan can use.

WE ARE KOMODO has a Sydney office and manages influencer campaigns and content production. Its South Australian tourism work gives buyers a direct destination example, while its consumer-brand portfolio shows creator execution around launches and experiences.

For the South Australian Tourism Commission, British creators presented the destination to prospective working holidaymakers overseas. The campaign reported 4.2M impressions and 1M engagements. The agency says the content contributed to 16K initiative sign-ups, keeping the response tied to the travel initiative rather than completed visas or bookings.

For PUMA Speedcat in the UK, the agency delivered creator activity across London, Manchester and Scotland. It reported 3.9M impressions and 46 content pieces, giving a separate example of how a consumer launch becomes a collection of creator assets.

Komodo fits an Australian brief where the experience being filmed is central to the message. The tourism work shows how an Australian destination can be presented to an overseas audience; the PUMA work shows a product launch in another market. Together, they make location, creator casting and the intended audience useful starting points for comparing the agency’s proposed production scope.

M&C Saatchi has offices in Sydney and Melbourne and offers social and creator marketing through a specialist service. Its selected international work gives Australian buyers examples of continuing creator partnerships and a destination activation built around an audience already following the talent.

For Samsonite, the agency’s Americas case describes a travel and lifestyle creator programme with ongoing content. It reported more than 7.3M social impressions and a 16% increase in brand searches. The product was presented within the travel experiences and visual content of the selected creators.

Visit Iceland used reality-show personalities to introduce the destination through a trip followed by fans. The combined programme reported 19.6M views and an 8.3% engagement rate, with creator posts joined by press coverage and fan activity.

M&C Saatchi is relevant when your team is deciding whether the brand needs sustained creator relationships or a defined activation. Its work makes the production demands of those options visible. For an Australian campaign, compare the proposed format with the audience interest you want to address and the content your team needs after the initial publishing moment.

Social Soup is a Sydney agency combining creator campaigns with product trial and amplification. Its selected work gives Australian brands concrete examples of joining the experience of using a product with content that other consumers can see and discuss.

For Simply Chips, the agency used its app’s Scan & Collect process to support in-store trial and proof of purchase. An Instagram photo competition encouraged sharing, while micro creators showed the product in evening entertaining occasions. The programme reported 55,890 trials and a 38% brand-awareness increase attributed to the micro-creator work.

For LEGO Girls, mothers and daughters received products to experience together. The parents then created content about the creative and social benefits of play. The campaign reported 33 content pieces and a 4.9% overall engagement rate.

Social Soup suits a brief in which product access is part of the creative plan. Its cases connect practical sampling arrangements with a specific content task, including a snack occasion and a shared play experience. That combination is useful when the brand wants both consumer trial and creator advocacy, with each activity measured according to its role in the programme.

Burson has offices in Sydney and Melbourne and manages creator programmes within its communications services. Its selected international cases are relevant to Australian buyers planning a launch that needs a strong content format and coordinated activity around the publishing moment.

For Activision Blizzard in the UK, creators took part in a filmed challenge inside a recreated Call of Duty safehouse. The programme used creator and brand channels, streamers, press and paid social for distribution. It reported 12.6M organic views and 374K+ engagements across the campaign.

In Thailand, Starbucks introduced its Harry Potter collection through influencer seeding followed by a media and blogger event. The combined campaign reported reach of nearly 18M and recorded over 5.3M engagements. That work joined pre-launch content with coverage of a physical experience.

Burson fits a buyer considering a competition, collection launch or entertainment-led activation. The cases make the production and communications roles visible around the creators themselves. For an Australian brief, use those examples to decide what should be filmed, what audiences can participate in and how the launch activity will be managed alongside the content and its distribution.

Fabulate combines a creator platform with a separate managed campaign service. Its Australian cases show food brands using creators to make products part of a recognisable viewing or shopping occasion, with the agency managing the work around the content.

For Subway’s Hot Honey launch, food and lifestyle creators used reactions and close-up food shots to show the flavour and combo offers. The content included an ASMR treatment. The programme reported 2.1M organic views and a 6.44% average organic engagement rate.

Bakers Delight took a seasonal approach. Creators showed the products in school lunches and family gatherings, connecting fresh bakery items with their own routines. Fabulate reported 1.56M total views and 1.26M reach for that campaign, with those total-result labels kept distinct from Subway’s organic measures.

Fabulate suits a buyer seeking managed creator production for a consumer launch or recurring retail moments. These cases make the product’s role in the content specific: an immediate food reaction or an everyday family ritual. Its managed service gives an Australian brand team a way to buy campaign execution alongside the platform used to support creator coordination and reporting.