Best Influencer Marketing Agencies in Australia

House of Marketers manages influencer campaigns for consumer brands, using TikTok and Instagram as its primary platforms. Co-founder Inigo Rivero was an early TikTok EMEA employee working in strategy and partnerships. Its services support awareness, product launches and acquisition through creator-led content.

Its consumer-brand work spans beauty and AI, alongside food and drink, technology and gaming. Other sectors include health and wellness, fitness, parenting, pets, ecommerce and FMCG. The team handles strategy, creator selection and production through to campaign reporting, with paid amplification available to support the brief.

HelloFresh shows food and subscription experience in a programme whose target markets include Australia. The wider work reports approximately 5M monthly video views and 500+ monthly tracked promo-code sales, giving brand teams both visibility and response measures to discuss.

Artisse provides an AI app example, with Australia also named among its target markets. That wider programme reports 8M+ views, 30+ influencers and 18K+ installs. Both sets of results cover multiple markets. Together they demonstrate experience with different consumer products and campaign objectives, rather than defining the agency solely around app acquisition or food subscriptions.

Sticki’s Hairhouse work reports a 116% increase in ROAS and a 95% decrease in CPA for creator-led ads compared with branded assets tested at the same time. Sticki produced the UGC; DataSauce handled the Meta media strategy. The case also reports a 722% increase in average CTR. Those are relative changes against the comparison creative, giving retail marketers a specific basis for discussing an advertising test.

Sticki also publishes Australian brand work outside paid acquisition. A Mildura creator Reel for Bega juice recorded a 4.16% engagement rate. A named creator video for Uniting Op Shops had approximately 13 seconds of average watch time. Those measures describe the individual assets. The service offer connects influencer campaigns with photography and videography, plus creator events and reporting. That makes the agency worth considering when your brief needs a supply of creator content and a clear plan for how each asset will be used.

Hoozu’s Marley Spoon programme reports 2.9M impressions from 6 creators and 24 content pieces. It also records a 17% quarter-on-quarter improvement in CPA. That combination gives subscription brands evidence of creator production alongside acquisition measurement, with the comparison period attached to the cost result. A particular Reel achieved a CPA 60% below target, a result attributed to that asset.

For Sukin’s Bond Build haircare launch, Hoozu worked with 8 influencers on 21 content pieces. The campaign reports 155.7K impressions and 2.1K engagements. Together, the cases cover an ongoing meal subscription programme and a consumer product introduction. Hoozu’s services include assessing talent, preparing creator briefs and negotiating contracts. Programme management and reporting sit alongside creator-generated content and paid amplification. If your Australian brief needs a team to manage delivery after creator selection, the published work offers relevant examples to discuss, from a product demonstration through to the response recorded after it runs.

Vamp’s Australian Coca-Cola activation brought together 90 creators and generated 300+ content pieces. The case reports 33.5M views and 5.6M engagements. For a brand organising a sizeable creator rollout, those figures show the delivered volume alongside the audience response, rather than leaving the proposal at a creator roster.

Vamp combines creator sourcing and contracting with campaign management, production and paid amplification. Its Rexona case separates TikTok and Instagram delivery. TikTok activity reports 4.1M+ views from 10 creators, while Instagram reports a 6.2% organic engagement rate and 8.46M+ paid impressions. A separate Garnier Eid campaign in Saudi Arabia and the UAE involved 60 creators producing 115 content pieces. The examples give your team material for discussing how a managed campaign moves from selection into content approval and distribution. For an Australian brief, start with the Coca-Cola activation, then use the platform-specific work to define the reporting and production requirements you want in the proposal.

Melbourne Social Co’s lululemon work covers Australia and New Zealand. The WunderPuff micro-influencer activity reached 1M+ accounts and generated 552K plays. A separate Align activation reports 1.55M organic reach. These campaign examples give apparel marketers relevant material for discussing creator collaborations around a particular product, with the audience measures attached to the activity that produced them.

The Melbourne Social Co DoorDash partnership also covers Australia and New Zealand. That integrated social, creator and paid programme reports 81.7M Instagram impressions in a quarter, alongside an 89.5% quarter-on-quarter increase in organic engagement. The offer extends from influencer campaigns into social management and paid social, with content planning and creative testing included. Consider that mix when your creator brief needs to fit an ongoing publishing calendar. You can discuss product launches through the lululemon examples, then use DoorDash to examine how creator work sits within a wider managed social programme and its reporting.

The Social CliQ’s Marc Anthony campaign reports 1.25M video views, 2.79M impressions and 73K clicks to Priceline. The Australian retail work combined influencers with UGC and paid media. Those figures describe that combined activity, giving a marketer a relevant example when the brief needs content to support a retailer destination as well as social visibility.

For Fujifilm’s Mother’s Day campaign, The Social CliQ reports 52 unique content pieces. Influencer content reached 17269 accounts, while paid activity generated 492542 impressions. The service offer covers influencer marketing alongside digital advertising and social media management. Content creation and design also sit in the mix. That breadth is useful to discuss when your team wants a partner to connect a campaign idea with the assets and advertising needed to distribute it. Use the retail cases to set out the role of each channel, the destination for traffic and the measures you’ll review after the campaign.

Social Soup’s Australian Blackmores immunity campaign reports 5.54M total reach and a 6% average engagement rate. It also generated 8500+ website clicks and 239K+ social engagements. These measures give health and consumer product marketers a named example of creator advocacy, with audience response and site traffic reported separately.

The LEGO girls programme adds a family-focused example. Social Soup reports 219K overall reach, 33 photo content pieces and a 4.9% engagement rate for that work. The agency’s services include product sampling and product reviews alongside macro-creator partnerships and micro-creator campaigns. Community research and campaign measurement are also stated services. This makes the offer relevant when your brief involves getting a product into people’s hands and understanding their response. Use the cases to discuss the role of creator posts, trial activity and feedback in your programme. Keep the reporting tied to the agreed action, such as engagement with content or a visit to your site.

We Are Social’s Samsung No Bad Seats work involved 25 creators capturing 1600+ hours of content across 40+ devices. The activity took place on a European tour through Lisbon, Madrid and Barcelona. It shows creator production around live entertainment, with captured footage as the reported output. The case appears in the agency’s Australian portfolio alongside its broader social and creative services.

For Contiki, We Are Social reports 12M organic reach and 325K engagements. That international travel example brings destination storytelling into the comparison. The agency’s stated services connect creator partnerships with cultural research and social strategy. Production, paid media planning and events also form part of the offer. If your Australian team is planning an international campaign, these examples provide a basis for discussing how creator content fits the wider creative idea. Set the actual delivery markets in the brief, then use the cases to examine production responsibilities and the audience response your campaign needs to measure.

Two Palms’ Prime Video work brought together 20+ advocates and produced 200+ content pieces, with 11M+ impressions reported. The programme centres on Australian entertainment talent and long-term advocacy. That gives entertainment marketers an example of creator partnerships that extend beyond a launch appearance into a continuing supply of content.

For Netflix’s Wednesday launch, Two Palms delivered a Sydney activation with social rollout across Australia, New Zealand and international markets. The case reports 37.6M organic views, 34 content assets and 5.3M livestream views as separate measures. The agency’s offer includes creator selection and campaign management alongside content production and brand activations. Talent management is also listed, so your proposal should specify the brand campaign responsibilities you want commissioned. The published entertainment cases give you relevant material for discussing how an event becomes social content, who produces the assets and how a continuing advocate programme differs from coverage of a particular launch.

Hypetap’s Australian Open campaign involved 14 creators producing 92 content pieces. It reports 17.4M impressions and 99044 engagements. The work included culture, family and food audiences alongside the sporting context. For a marketer planning an event brief, that gives a concrete example of selecting creators around different reasons people might engage with the occasion.

For Perfection Fresh’s Calypso Mango launch, Hypetap worked with 10 creators on 51 content pieces. That seasonal product campaign reports 3.49M impressions and 473452 engagements. The offer covers creative strategy and influencer qualification, followed by briefing and contracting. Production and copywriting sit alongside paid social and reporting, with usage rights management also stated. These services give your team specific delivery tasks to discuss beyond the initial creator selection. Use the event and food cases to examine the proposed audience groups, the content plan and the reporting measures that fit your Australian campaign’s purpose and launch schedule.

RISER Collective’s Australian 7-Eleven coffee launch delivered 388 content pieces through its micro-influencer programme. For Dove Kids Care, the agency reports 415 content pieces, with video accounting for a 67% share of content. Those figures describe creator participation and delivered assets. They give consumer product marketers a concrete starting point for planning the volume of a sampling programme.

RISER Collective lists product fulfilment and gifting logistics alongside creator matching and content approval. Its offer also includes product reviews, creator surveys and usage rights. That combination is relevant when your Australian brief needs someone to handle the physical movement of products as well as the resulting content. The coffee and family care examples let you discuss product trial within a managed campaign. Define the planned outputs and the engagement measures you want reported, then agree how creator feedback will be collected and how approved content can be reused by your brand. Name who handles product questions during creator production.