FELIPE
AVENDAÑO

The challenge of the role was to build the brand from zero across social media, influencers and content. There was no prior measurement, and what went out was the bare minimum: promotions that built neither story nor brand. I wrote the strategy in 2021 and have led its execution for five years.

• With my team we reached #1 in “Most Engaging Content” (27.8%) in Chilean banking, sustained across 2024 and 2025 (NIQ-GFK).
• I built the in-house content team of 5 that today produces 100% of the bank's social content.
• I manage the media, creative and influencer agencies, plus specialist vendors brought in per tactic, strategy and campaign.
• We delivered +48% interactions and +141% shares year over year, while absorbing a 33% cut to the influencer budget.
• I manage an annual budget of ~CAD $420K across paid media, influencers, agencies and technology.

I joined in 2017 to create the social media function from scratch. The account had 3,000 followers and the brief was blunt: beat Sony Music and Universal Music on engagement.

• I took the main account from 3,000 to more than 23,200 followers.
• With my team we reached the highest engagement rate in the Chilean music category: 1.089% against Sony (0.504%) and Universal (0.228%).
• We did it with 1.86 posts a day against Universal's 17.57.
• I led artist marketing plans and oversaw the partner agencies.

In 2023 I proposed bringing the bank's content production in house. The case I presented was not about saving money: it was about efficiency in budget, team and production volume, with better creative quality and more brand development. The headcount was approved and I built the function.

• I built a five-person team: a content coordinator, two content managers, a social media specialist and a community manager.
• I built the full workflow, calendar, approvals and production, and we optimised it together as a team afterwards.
• The function produces 100% of the bank's social content today.
• The result was not lower costs but multiplied output: from 216 posts a year in 2021 to 2,383 in 2025.

The bank opened TikTok in 2021 and the account barely existed: 561 followers, 14 posts and content recycled from influencer collaborations. We rebuilt it as a channel in its own right, with a strategy and editorial line written for the platform.

• I defined the channel's role as activate and connect, with 70% of content aimed at connection and 30% at visibility.
• With my team we built the editorial line around four pillars that are now the profile's playlists: Gennials, Financial Education, Unique Experiences and Bike Karaoke.
• The channel has 2.1M likes, and recent posts run between 200K and 540K views.
• TikTok is where the bank's financial education performs best: it earns 5 times more saves than Instagram, 135 on average against 28.

Warner Music needed to grow its YouTube Latam channel. I led a three-part comedy miniseries with two of the biggest creators in Chile at the time, Pollo Castillo and Rodi Garrido, working the label’s music into the story instead of leaving it in the background.

• I led the whole project: concept, creator casting and production of all three episodes.
• 257K views on episode 1 and 463K on episode 2, with 15.4K combined likes.
• 4,000 new subscribers for the channel, 88.8% of them Chilean.
• 70% watch-time retention, on four-minute pieces.
• The third episode was never released publicly: it circulated internally with the team and through a campaign pointing to an unlisted URL.

The Chilean launch of the single “Downtown” by Anitta with J Balvin. The goal was to lift the song's share of voice and push its Spotify streams until it broke into the Chilean Top 20.

• I led the campaign and the casting of the creators: Julia Fernández, Thati Lira and Francini Amaral.
• I defined the format: a one-minute dance sketch video, as an Instagram post, across three publications.
• Three weeks after the campaign ended the song had passed 400,000 streams and 15,000 direct interactions.
• The song entered the Spotify Chile chart at number 13, meeting the Top 20 objective.
• The content crossed into entertainment press: FM Dos, Página 7 and LimaLimón covered it as news.

The launch of Dua Lipa's “Swan Song”. Instead of promoting the single, I took the central idea of the lyric, that staying silent has a cost, and turned it into an open invitation: for women in Chile to say why they will not stay quiet in any situation.

• I led the strategy and the creative idea for the campaign.
• We built a landing page where each woman published and shared her own reason.
• Distribution leaned on voices from the feminist and body positive movements in Chile.
• The artwork took the message into the language of the street poster, with the artist woven into the protest.

The launch of “Te Vi” by Piso 21. The goal was to get people listening to the song, not just watching an ad. I led the project and created the strategy and the creative idea: a four-part Instagram Stories game starring Pollo Castillo, the most recognised influencer in Chile at the time, ending on a landing page where entering a sunglasses giveaway required knowing the song title, which played automatically on arrival.

• I led the whole project and worked directly on the traffic campaigns in Ads.
• I created the game mechanic: four stories of rising difficulty leading to the landing page.
• The creator content reached 928,196 accounts and 1,188,457 impressions, with 7,998 link clicks.
• Paid campaigns added 254,438 accounts reached and 8,388 clicks.
• 6,951 sign-ups on the landing page at 42% conversion, over a 15-day campaign.