Top Influencer Marketing Agencies in Canada

Ogilvy has a Toronto office and delivers influencer work through its social and communications teams. Its case studies are useful for a Canadian buyer deciding how creator content should contribute to an idea also appearing in other media.

Hellmann’s UK food-waste campaign made the product itself part of the explanation. A temperature-sensitive mayonnaise jar showed when a fridge was cold enough. TikTok and Instagram creators demonstrated the idea, while outreach involved brand fans and food-waste campaigners. The complete campaign secured more than 160 pieces of online and print coverage.

For airline LEVEL, creators recommended places and experiences around Barcelona Pride. A guide supported the sponsorship, alongside outdoor advertising and parade activity. The programme reported a 39% revenue increase and an 18% bookings uplift during the campaign. The guide’s engagement rate was 20%.

The practical strength in these examples is a creator role that people can understand without a long explanation. Ogilvy is relevant when a Canadian campaign needs product education or audience participation to carry across different media. The brief should make the intended audience and language requirements explicit before that shared creative idea is developed.

Viral Nation is headquartered in Toronto and provides managed influencer campaign delivery alongside its software. Its published work shows the operational demands of coordinating creator activity around a major event and sustaining an entertainment brand’s advocacy programme.

Rocket Money’s Super Bowl campaign combined content before, during and after the event with paid support and community management. The agency coordinated 38 creators and reported 247M content views. A live campaign team helped connect the publishing schedule with conversations unfolding around the event.

For Disney Theatrical Group’s Broadway shows in New York, the programme included continuing advocacy, gifting and a Creator Day experience. The agency reports 172K clicks, while Creator Day content generated more than 30M impressions. The visit gave creators access to the shows and material to share with their audiences.

These cases suit a buyer whose Canadian programme needs coordinated publishing and a team able to respond during delivery. The relevant distinction is the work around the post: arranging the experience, supporting distribution and managing audience responses. A clear audience brief lets those activities serve the campaign’s intended Canadian viewers and commercial objective.

DEPT has a Toronto office and manages influencer campaigns including casting, production and distribution. Its work gives Canadian buyers a concrete example of how creator selection changes the way a product is explained.

For BISSELL in the Netherlands, Germany and France, the agency matched cleaning products with pet, family and home-content creators. Product education preceded an open creative brief, letting demonstrations appear within everyday routines. More than 30 local creators contributed to the campaign, which reported 15.5M organic impressions. Humour and before-and-after content gave the products visible jobs to do.

Its eBay work joined creator activity with the brand’s Love Island sponsorship and wider social programme. The published programme reported 217M impressions and 76K organic engagements. Those totals cover the combined activity rather than an isolated set of influencer posts.

DEPT is worth considering when the product needs to be seen in use and the resulting content must also serve the brand’s social channels. For a Canadian brief, its approach to matching a product with a creator’s routine offers a useful basis for discussing audience fit, language and the material required for distribution.

We Are Social has a Toronto office and brings creator delivery into its social creative work. The agency’s published campaigns show different ways to turn an existing behaviour into a brand story people want to watch or repeat.

Barilla’s Italian rooftop-tennis film brought Roger Federer to meet the girls behind a popular lockdown video. They played tennis and ate together. The ambassador film recorded 35M views and 1.8M YouTube watch hours, giving the food brand a story built around an encounter and a shared meal.

For Pringles, the can became a prop for a TikTok challenge. Creators introduced playful uses and invited people to make their own videos. The wider challenge accumulated 4.7B views. Its reported scale includes audience contributions as well as the content that introduced the idea.

This is relevant when a Canadian campaign depends on participation, so the central action must be clear to the intended audience. The cases offer different creative choices: an encounter worth following, or a format people can recreate. We Are Social suits brands willing to make that audience behaviour part of the production brief.

House of Marketers is based in London and has documented Canadian campaign delivery through Invoice Fly. The agency pairs creator production with paid distribution, with product demonstrations that help viewers understand a practical use before taking action.

Invoice Fly’s programme included Canada among its named markets. Creators showed the invoicing app to tradespeople and service-business audiences, with paid activity supporting distribution. The campaign reported 70K downloads and more than 2K paying monthly subscribers across the full market group. Those totals describe the combined programme.

For printer brand Pantum, creator demonstrations appeared across markets including South Africa, the UAE and Turkey. The agency reported 3.63M organic views and 1.31M boosted views. Keeping those measures separate makes the case useful when comparing creator reach with the additional audience bought through paid media.

A Canadian software or functional-product brief could use these examples to specify what the audience needs to see before clicking. House of Marketers is relevant when the job involves both explaining the product and distributing that explanation. Its cases support buying creator production and media activity together, with agreed reporting by market and channel.

Pepper is a London agency with documented Canadian delivery in its Goodnotes launch campaign. It manages creator work with paid support, using familiar routines to explain what an app helps its audience do.

For Goodnotes, the agency worked with creators in study, journaling and lifestyle content. The programme covered Canada alongside Brazil, Germany, Mexico, the UK and the US. It reported more than 24.5M impressions and over 37K paid Meta link clicks across those markets. The product appeared in the activities of students and people using tablets to organise their work.

Xero Go used a related approach for a different audience in the UK. Entrepreneur and self-employment creators explained the app through short videos and stories, with paid boosting supporting the campaign. The content connected product features with the tasks prospective users already needed to complete.

Pepper suits an app team whose Canadian brief needs more explanation than a product mention can provide. The cases show how creator subject matter can shape that explanation. They also help a buyer define the organic posts, paid adaptations and audience reporting needed for a launch that spans several countries.

Weber Shandwick has a Toronto office and manages influencer identification, creative development and delivery. Its cases give a Canadian buyer examples of content tied to an action the audience can take after watching.

The SKITTLES campaign redesigned a New York micro-apartment with Dani Klari, then used Caleb Simpson’s familiar apartment-tour format to introduce it. A giveaway offering a year of free rent attracted more than 17K applications. The creator format made the space easy to explore, while the offer gave viewers a specific reason to respond.

Brawny’s cleaning-service campaign used a celebrity breakup as the occasion for content about mess. Influencer collaborations ran with paid and organic social activity and a wider publicity effort. The campaign reported 1.8B earned impressions, with 97% of coverage outside the home category.

Those examples answer different buying needs: a promotion with an application mechanism and a product idea designed for wider attention. Weber Shandwick belongs on a shortlist when a Canadian brief needs creator content to connect with a public offer or communications plan. Define the response in advance so the team can build both the creative and the reporting around it.

FleishmanHillard has a Toronto office and delivers influencer work alongside content and communications services. Its selected cases show how regional creators and a recognisable public figure can perform different roles within the same product campaign.

Tillamook’s farmer-support programme in the US paired Eva Longoria with food, farming and lifestyle creators. A fundraising effort gave the content a reason to discuss where the brand’s products came from. The agency reports 30% more sales among people exposed to regional influencer content. That comparison applies to the exposed audience group.

Lipton used a more concentrated occasion. A football player and his wife brined a turkey with iced tea, following an earlier dry-turkey moment. The couple’s content joined brand social activity and a giveaway. The campaign reported 3.2M TikTok views and more than 145M earned impressions.

For Canadian buyers, these cases are useful when choosing the role of national talent versus creators with a closer subject or audience fit. FleishmanHillard is relevant when the brief needs a product story with enough substance for both creator content and publicity, supported by measures suited to each part of the programme.

inBeat has a Montreal office and combines creator production with paid acquisition work. Its cases are useful for a Canadian buyer who needs a continuing supply of ad material and a process for deciding which versions deserve further spend.

For Greenpark Sports, the agency worked with sports, gaming and lifestyle creators to produce short videos. It varied hooks and calls to action, then used the content in Meta and TikTok advertising. The case reports a 70% lower cost per install and daily installs at 6x the earlier level. Ad spend also rose during that campaign.

Custom haircare brand Prose needed content reflecting different hair experiences. inBeat organised recurring UGC production and iterated on the material that performed well. The programme delivered more than 450 assets with over 100 creators, giving the brand a range of product stories to test.

This is a fit for an acquisition team buying production and iteration as an ongoing service. The cases show why a brief should specify the variations required, the intended paid uses and how the next creative round will respond to performance. Canadian audience requirements should guide both casting and media targeting.

Fourth Floor has a Toronto office and specialises in creator campaigns for games and entertainment. Its published work combines creator access with ideas that give existing communities something to watch, make or share.

For PowerWash Simulator, the agency used global creator outreach with paid and earned activity, including access around the game’s launch and updates. The campaign generated more than 200 pieces of Twitch and YouTube content. Gifting supported the outreach, while the continuing release schedule gave creators further reasons to return to the game.

Warframe’s Duviri Paradox launch enlisted Colin Furze to build a machine that moves like a Warframe. Separately, creators decorated printed Duviri masks, and the design file was shared for community use. The paid streams reported more than 50K concurrent viewers, with paid YouTube viewership at 123% of target. The target comparison describes delivery against the plan.

Fourth Floor suits a Canadian gaming team that needs creator relationships to extend beyond a launch announcement. These cases show the value of access and usable participation materials. The buyer can scope the release moments, creator content and community activity together, with reporting that distinguishes livestream audiences from video views.