Creative Strategist

Laksh Human Resource; Dadri; On-site; INR 1,200,000 - 2,400,000; Full time

Job summary

HIGH STREET ESSENTIALS PVT LTD, owner of FabAlley and Indya, seeks a Creative Strategist for the Founder’s Office in Noida, India. You own the creative direction, decide what to produce and why, and lead a production pod including editors, designers, and motion artists.

You will bridge taste with data, driving performance across global markets. You will defend why ads work, optimize hooks and pacing, and build a system of learnings to guide future campaigns.

Qualifications

• Experience running creative for a D2C brand or performance agency.
• Ability to explain why ads work, frame by frame.
• Strong understanding of hooks and first-second impact.
• Comfort with spreadsheets and data-driven optimization.

Responsibilities

• Set the creative thesis and decide what to run, to whom, and what feeling.
• Brief and direct production; build and manage a pod of editors, designers, motion artists and photographers.
• Recruit and direct creators who look and sound like our customer, in her city.
• Run the testing engine to schedule concepts, hooks and variants and read results.
• Build a learning system with a searchable asset library and governing principles.

Skills

Taste

Numbers

Job description

HIGH STREET ESSENTIALS PVT LTD (Faballey.com and houseofindya.com)

www.houseofindya.com

Creative Strategist, Founder's Office

Performance and brand creative for Meta, Google, video and social. US, UK, Canada, Australia.

Function: Creative, standalone. Not inside marketing.

Reports to: Founder

Location: Noida, India

Team: You direct a production pod of editors, designers, motion artists and creators. You will build it.

Eligibility: running creative for a D2C brand or a performance agency. No degree requirement. Your work is the qualification.

About Indya

Indya is part of High Street Essentials, founded in 2012. We own two brands, FabAlley and Indya, and we are one of India's largest direct-to-consumer fashion companies. Our clothes are designed and made in India and sold to customers in more than 40 countries. Our investors include Elevation Capital, India Quotient, LC Nueva, JSW and GMR. More than a million people follow our brands. Indya is our occasion wear brand and the largest Indian occasion wear brand selling directly to women abroad. Women of Indian origin in the United States, the United Kingdom, Canada and Australia buy from us for weddings, receptions and festivals. Our revenue there is in dollars, pounds and Australian dollars.

We are building a global brand from India, and we lead this market already. India makes clothes for much of the world, almost always under someone else's name. Indya is the exception. Designed and made in India, sold directly to women in their own country and currency, and chosen by name. Our work now is to extend that lead, market by market. This role decides how she finds us and why she trusts us.

The Customer You Are Speaking To

She lives in New Jersey, or Slough, or Brampton. She is going to an event where she will be seen by people who know the clothes well. She wants to be certain she will look right on the day, and for many customers there is also a connection to home in the purchase. Our ads have to carry that in the first two seconds, on a phone, while she is doing something else.

The Role

You own what our advertising says, shows and makes a person feel. You do not edit the work yourself. You decide what gets made, why it will work, who makes it, and whether it worked.

Most brands split this work in two. The people with taste do not read the numbers, and the people who read the numbers cannot judge the work. We want one person who does both, reporting to the founder, so that neither side overrules the other.

• Taste. You can explain why one video holds attention and another does not. Hooks, pacing, casting, styling, light, sound and the first two seconds. You can make a customer want the product without a discount.
• Numbers. Hook rate, hold rate, click-through, cost per acquisition, frequency and creative fatigue. You know which number shows the hook failed and which shows the offer failed.

What You Will Do

Set the creative thesis

• Decide the angles we run. What we say, to whom, and what feeling we are working from.
• Work from the feelings that drive the purchase, not a list of product features.
• Stop angles that no longer work, and tell the difference between a dead angle and one executed badly.

Brief and direct production

• Write briefs a good editor can execute without a call. Reference, hook, structure, pacing, sound, first frame and end card.
• Build and manage the pod of editors, designers, motion artists and photographers.
• Recruit and direct creators who look and sound like our customer, in her city.
• Hold a standard. Reject work that is well made but does not make the viewer want the product.

Run the testing engine

• Set the calendar and the volume. How many concepts, hooks and variants ship each week.
• Read results at the right level. Hook rate for the first three seconds, hold rate for the middle, click-through for intent, cost per acquisition for truth.
• Separate the four things that can be wrong: the angle, the hook, the execution or the offer.

Build the learning system

• Keep a searchable library of every asset with its performance attached.
• Turn results into written principles the team can use, not knowledge that lives in your head.

Master the platforms

• Meta is our main channel. Understand how creative performs under Advantage+ and broad targeting.
• Google is second. Performance Max, Demand Gen, YouTube and the shopping feed.
• Build for each format. Vertical video, static, carousel, catalogue and thumbnail all need different work.

Own social and brand

• Keep the organic feed and the paid feed telling one story.
• Follow what is popular in our four markets, and decide what we join and what we ignore.

Run to the season

• Shoot and build the asset bank in the quiet months, and run cheap tests for the season ahead.
• Publish at volume from May to October and manage creative fatigue through peak.

What We Are Looking For

• A portfolio of ads that produced sales, with the numbers to show it. Awards are not relevant here.
• The ability to explain, frame by frame, why an ad worked.
• Real understanding of hooks. The first second, the first frame, the first sound, the first line of text.
• You can create desire without a discount.
• Comfort in a spreadsheet. You can open a creative report and find what it says without help.
• Directness. This role reports to the founder and will hear no often.

Why Join Us

• You report to the founder. There is no approval layer between your idea and the market.
• A customer with real feeling behind the purchase. This is not a commodity category.
• Four international markets and fast feedback on every test.
• The variable is tied to performance. Good creative is worth money here, and you are paid for it.