Fullhouse Ogilvy is a full-service agency. The first three clients it brought onto Hypefy were Pharmalife, Pantenol, and Milka, with campaigns running from January to July 2026.
Pharmalife and Pantenol needed Serbia alone. Milka needed Serbia, Croatia, and Slovenia.
Serbia
Serbia
Serbia
Croatia
SloveniaFor each campaign, the agency wrote a brief on Hypefy, the platform proposed creators matched to it, and the agency approved the ones it wanted.
From there, Hypefy took over. It contacted the approved creators, negotiated the terms, signed the contracts, and paid them, and every campaign's results came back in the same report format.
The Problem an Agency Has That a Brand Doesn't
A brand doing influencer marketing in-house learns one creator pool and keeps using it. An agency learns a new pool for every client it takes on, and another for every market that client wants to reach.
Headcount covers the first of those and struggles with the second, because someone who knows the Serbian beauty creators still can't verify whether a Croatian account has a genuinely Croatian audience.
The usual answer is a separate supplier in each market, arriving with its own contract and its own way of reporting.
Fullhouse Ogilvy needed new pools for three clients and three markets inside seven months.
What Fullhouse Ogilvy Gets From Working on Hypefy
The Brief Does the Searching
Turning a brief into search criteria is work. Someone decides which filters to set, which tags matter, and which of the returned profiles are worth putting in front of the client, and with three clients on one account, that work repeats every time.
Semantic Selection reads the campaign description and matches creators from Hypefy's own database on what their content means, judged from the captions and themes that recur in their posts.
For example, a creator whose captions keep coming back to sun protection would surface for an SPF brief even if her bio says travel.
Every creator on the list arrives with a written explanation of the match, plus scores for brand fit, audience fit, and safety.
Semantic Selection made 366 proposals on the four shortlists where it was used, and on each of them its creators were approved more often than the rest.
Results by Client
| Client | Markets | Impressions | Feed reach | ER per feed reach |
|---|---|---|---|---|
| Pharmalife | 1 | 558,340 | 406,159 | 2.09% |
| Pantenol | 1 | 1,004,798 | 680,515 | 2.02% |
 Milka Monopoly | 3 | 1,092,003 | 672,342 | 3.43% |
Pharmalife Opened the Account
Pharmalife was the first client on the account, and its brief left little to interpret.
It named two products, Apis Gola Kids and Tussiflux Kids, both natural health products for children. It specified the creator profile, i.e., mothers of children aged one to seven, plus pregnant and nursing mothers. It also asked for trending formats and humorous sketches.
- Products
- Apis Gola KidsTussiflux Kidsboth natural health products for children
- Creator profile
- Mothers of children aged one to sevenPregnant and nursing mothers
- Formats
- Trending formatsHumorous sketches
The campaign was published between January 29 and February 27, with 11 creators posting one Instagram Reel each.
Three Pantenol Products, Two of Them at Once
Pantenol promoted three products in Serbia with three separate creator sets. Each was briefed and matched separately, but on the same account, so three products for one client didn't turn into three parallel processes for the agency.
The first campaign promoted a collagen supplement for skin, hair, and nails and published between March 19 and April 14.
Pantenol pena, a foam for skin hydration and regeneration, and an SPF were both set up on May 28 and both published between June 10 and July 30.
Collagen5 creators · March 19 – April 14Pantenol pena6 creators · June 10 – July 30SPF7 creators · June 10 – July 30
One Milka Brief in Three Countries
The Milka Monopoly promotion had to work in Serbian, Croatian, and Slovenian.
Fullhouse Ogilvy set it up once, and Hypefy matched a separate local cast in each market.
The three markets didn't share a calendar.
Croatia and Slovenia launched on March 12, 2026, and ran for almost two months. Serbia launched four weeks later, on April 9, and ran for about one month.
CroatiaFrom March 12almost two monthsSloveniaFrom March 12almost two monthsSerbiaFrom April 9about one month| Market | Creators | Content | Feed reach | Total reach | ER per feed reach |
|---|---|---|---|---|---|
| Serbia | 6 | 17 | 324,063 | 363,672 | 2.73% |
| Croatia | 6 | 20 | 170,359 | 193,150 | 4.19% |
| Slovenia | 4 | 14 | 177,920 | 233,078 | 4.00% |
Croatia and Slovenia both engaged at 4% or more.
Serbia's combined reach was nearly twice Croatia's, and it engaged that audience at about two-thirds the rate, on the same feed plan of six Reels and five TikToks.
Because Serbia also started later and had less time, these numbers can't separate the effect of the market from the effect of the calendar.
Across the three markets, the promotion produced 51 pieces of content from 16 creators. It drew 23,090 engagements on a feed reach of 672,342 and a total reach of 789,900 once Stories are added.
How We Measured
Feed reach counts Reels and TikToks. Total reach adds Stories. Stories report reach and taps, and the feed formats report likes and comments, so every engagement rate here divides engagements by feed reach and none of them should be applied to total reach.
Reach is summed across posts, so a creator who posted a Reel and a TikTok appears in both, and six creators were booked more than once. These are campaign totals that can count the same person more than once, so the program total is given in impressions, which make no claim to count unique people.
Follower counts come from Hypefy's post records and can differ from the creators' profiles today.
We didn't break results down by creator size, because most of the creators were in one tier.
Of the 37 creators who posted on Instagram, 31 had between 10,000 and 100,000 followers, and on TikTok 10 of 15 did. Those counts overlap, since 13 of the 39 creators posted on both platforms.
