Top Influencer Marketing Agencies in South Korea

Ogilvy has a Seoul office and offers influencer work within its wider advertising and communications services. Its international portfolio is useful for a Korean brief where the creator idea must work alongside a brand campaign, with the same product story carried into social content and public activity.

For LEVEL at Barcelona Pride, Ogilvy combined influencers with outdoor advertising, print and live event activity. The integrated campaign reported an 18% uplift in bookings and a 39% revenue increase during the campaign. Those results describe the combined programme.

In the UK, Hellmann’s Smart Jar gave TikTok and Instagram influencers a physical demonstration: a mayonnaise jar that showed when a fridge was cool enough. Food-waste campaigners and brand fans joined the work, which earned more than 160 pieces of online and print coverage across the campaign.

These examples show how an idea can give creators something specific to demonstrate or participate in. Ogilvy suits a shortlist for a brand requiring that broader creative connection. For a Korean audience brief, the useful discussion is how the Seoul team would develop the local expression while coordinating the surrounding campaign work.

Pepper is a London agency offering managed creator campaigns and paid amplification. Its published travel work explicitly includes South Korean audiences, establishing delivery to the market. The agency’s named technology cases show a separate ability to connect a product explanation with creators chosen around particular audience interests.

For Goodnotes, study, journaling and lifestyle creators demonstrated the app across Brazil, Canada, Germany, Mexico, the UK and the US. The campaign reported 24.5M+ impressions and 1.8M engagements across those markets. Content also supported paid distribution, with a reported 37K+ Meta link clicks.

Its Xero Go work targeted UK entrepreneurial audiences through finance-focused content on Instagram and TikTok. Creator storytelling and boosted ads contributed to impressions exceeding the campaign target by 279%. That figure measures delivery against the agreed target.

Pepper is relevant when a Korean audience brief needs a practical product explanation and a plan for distributing the finished content. Its work gives you specific examples of matching creator interests to a use case. The proposal should connect that casting approach with the Korean-language review and audience requirements you set for the assignment.

Weber Shandwick operates a Seoul office and provides creator selection, creative collaboration and campaign management. Its published work connects creator content with an idea that can also interest the press. That is a useful offer for a Korean brand brief requiring an attention-generating launch and coordinated communications around it.

For SKITTLES Littles in New York, a creator redesigned a micro-apartment around the product’s small size. An apartment-tour creator then showed the space to viewers. The draw for a year of free rent attracted more than 17K applications, giving the product idea a concrete action for the audience to take.

For Brawny, influencer collaborations formed part of a programme spanning paid and organic social plus earned media. The earned campaign reported 1.8B impressions. The figure describes that broader communications activity.

The agency’s cases demonstrate the work around a creator post: developing the experience, giving it a clear story and distributing it through several routes. Shortlist Weber Shandwick when the Korean-language execution needs to carry a larger brand idea. Its Seoul presence gives you a local team to discuss the audience context and the ownership of that execution.

FleishmanHillard has a Seoul office and a media practice that brings creators into consumer communications. Its selected US cases are useful for buyers planning a Korean campaign where the product story needs a clear social occasion, with creator content and press activity built around the same idea.

For Lipton, a football player and his wife demonstrated an iced-tea turkey brine ahead of Thanksgiving. The content ran through the couple’s and brand’s social accounts. The campaign reported 3.2M TikTok views and 145M+ earned impressions, with the latter covering the wider campaign.

Tillamook paired regional food and farming voices with a celebrity advocate in a sales-linked fundraiser for US farmers. The agency reported 30% more sales among people exposed to the regional influencer content. The comparison applies to people exposed to the regional influencer content.

These cases show distinct roles for specialist voices and broader public attention. FleishmanHillard fits briefs that need those roles planned together. For a Korean audience, use the Seoul team discussion to establish the relevant occasion, the creator’s reason to participate and how the programme’s different outcomes will be reported.

Burson operates in Seoul and offers managed influencer programmes alongside public relations. Its selected work uses a recognisable entertainment idea to give creators a role in a launch. That approach is relevant to Korean briefs where an audience already cares about a game, story or product collection.

For Activision Blizzard in the UK, Burson recreated a Call of Duty safehouse as a filmed creator challenge. The distribution combined creator and brand channels with streamer activity, press and paid social. The campaign reported 12.6M organic views and 374K+ engagements.

In Thailand, Starbucks’ Harry Potter collection launch used influencer seeding before a media and blogger event. The combined campaign reported reach of nearly 18M and recorded over 5.3M engagements. The launch joined creator anticipation with an experience people could cover and share.

Burson suits a shortlist when the work needs both a participation idea and the coordination around a public launch. The examples give a Korean marketing team different production models to discuss: a filmed competition and a collection event. Define which audience relationship matters to your brief, then scope the creator role and local review with the proposed Seoul team.

Gushcloud is a creator management and brand partnership operator with a Seoul office. Its work spans celebrity partnerships, content production and creator campaigns. For a Korean marketing team, that combination is relevant when the brief includes both talent participation and the activity built around the relationship.

Its SimInvest programme targeted Indonesia and combined a brand ambassador with television-commercial production, a Jakarta launch and a Seoul fan activation. The agency reports 2.6M total views for the programme. The Seoul event is part of that international campaign, with the total kept at the programme level.

For Bandai in the US, Gushcloud used Instagram and Twitter creator giveaways to promote a card game. The published campaign reports over 113.9M total reach and over 21K engagements. The reach figure retains the agency’s reported campaign basis.

These cases show different ways to structure a partnership: a celebrity relationship with production and fan access, and creators activating a product community. Gushcloud is a practical candidate when those talent and delivery decisions need to be made together. Its Seoul operation provides a local point for defining the Korean audience work within the proposed engagement.

CREATIP is headquartered in Seoul and combines social account work with creator campaigns. Its published portfolio includes a programme addressing Korean travellers and a global Instagram programme for Soonhari. The distinction is useful for buyers choosing between an ongoing brand presence and a defined audience campaign.

For Tourism Australia, CREATIP developed the official Korean Instagram account through content and events, alongside a celebrity travel film. The account reached 10K followers. That result belongs to the combined account programme, giving a Korean travel marketer an example of how creator material can sit within continuing publishing.

Soonhari used short-form memes and influencer collaborations for young audiences globally. The programme reported averages above 10K likes and 350K video views per post. Those averages describe the programme’s content, including brand-owned meme posts.

CREATIP suits a brief where the agency will help shape both Korean-language creative and the rhythm of social publishing. Its cases offer concrete ways to discuss that scope: destination storytelling for a Korean audience, or recurring content built around a consumer brand. Decide which job you need the account and creator work to perform together.

Pinball operates a creator network and managed brand campaign service with a Seoul office. The current brand follows Collab Asia’s operating history and offers creator casting, campaign execution and content distribution. Its selected work puts entertainment formats at the centre of the product or music promotion.

For EA Games, the agency worked with Korean gaming creators on APEX Legends videos. The case reports more than 2M views across the programme. The Korean creator roster is explicit, while the reported result remains the campaign’s combined viewing figure.

For Warner Music, a dance-cover partnership used creators’ social accounts to distribute the performance. That work reported more than 5M views. It shows a different production task, built around a performance that audiences could watch and share across creator channels.

Pinball is relevant when a Korean brief depends on casting people who already work naturally within gaming, music or entertainment. Its examples make the creator’s format part of the campaign idea. The buying discussion can start with the performance or content you need, then establish the casting responsibility, brand permissions and distribution included in the managed scope.

DISRUPT is a Seoul agency providing creator campaigns, content reuse and paid amplification. Its published work is useful for Korean teams planning international expansion because it shows how a creator programme can sit alongside the brand’s owned social activity and advertising.

For Voice Caddie in the US, the agency combined creator partnerships with owned content and giveaways. The wider social programme reported a 426% increase in YouTube views and a 243% increase in Instagram reach. These figures describe changes across the programme’s social activity.

For Bank of Wine, DISRUPT managed influencer and media selection, contracts and content across Hong Kong and Singapore. Whitelisted Meta ads supported distribution. The campaign reported 255,278 views and 10,980 landing-page views across those markets.

The agency fits a brief in which the Korean brand team wants creator production connected to the next step in distribution. Its cases give you an owned-social example and a market-entry example to examine. Agree which activity the agency will manage after content is approved, then make the reporting distinguish content viewing, account changes and visits to the destination page.

GEOCM is a Seoul travel and lifestyle PR agency with creator-trip and digital content services. Its selected cases address Korean audiences considering overseas destinations. That makes its portfolio specific to travel buyers who need the agency to connect a destination experience with content people can use when planning a trip.

For Constance Hotels & Resorts in the Maldives, a Korean creator trip produced a YouTube vlog with more than 146K views and coverage in Korean publications. The view figure belongs to the individual vlog.

For WOW, the Cultural District of Porto, GEOCM’s Korean audience programme reported 83 content pieces and more than 1.39M impressions. The wider work included the launch of themed travel products, keeping content distribution connected to the destination’s trade activity.

GEOCM is suited to briefs where creator travel, destination access and Korean communications need to be coordinated. The cases show how an itinerary becomes both social material and a broader tourism story. For your proposal, define the intended traveller and the experiences the creator must demonstrate, then agree how the agency will report content performance alongside the other travel-promotion work.