Aisha Ayanboade develops advertising creative strategy for direct-to-consumer beauty and wellness brands, using customer research to shape ad angles, hooks, and copy.
Customer research is the raw material for an ad, not a preliminary step · The ad has to match the market's awareness level, not the level the brand wishes it were at · Copying a competitor's winning ad is a budget risk
Aisha Ayanboade develops advertising creative strategy for direct-to-consumer beauty and wellness brands.
In the reviewed LinkedIn posts, the central idea is that effective ads start with customer research, not borrowed competitor formats: understand what people want, have tried, and say about their problem, then turn that knowledge into hooks and angles.
The posts are useful to readers interested in how research can shape advertising, especially in crowded categories where customers have heard familiar claims before.
Aisha Ayanboade connects audience and market diagnosis to specific creative choices.
One post argues that brands in a saturated market need to give customers a reason to switch, not explain a product they already understand.
Another shows what that can look like: for a vibration plate, the proposed Lifepro Waver angle openly says it will not replace a gym and instead speaks to people who cannot use one because of their knees, back, or recovery.
The example makes the approach concrete: acknowledge a limitation when that is more credible than another exaggerated promise.
The posts also show a clear preference for Meta advertising as a way to reach buyers, rather than a neutral comparison of advertising channels.
Follow their work for practical arguments about research-led ad creative and examples of how to adapt a message to a market.
Aisha Ayanboade argues that advertising creative for DTC beauty and wellness brands should start with customer research, not the ad itself, and that the choice of angle should follow a diagnosis of how crowded and sophisticated the market is.
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The recurring priorities are to learn what the audience wants, fears, and has already tried, and how they describe the problem; write hooks and scripts from those findings; avoid copying a competitor's winning format, which solved a problem that has already moved on; and state the product's limitation when the category has exhausted its exaggerated claims. Paid social, particularly Meta, is treated as the distribution layer the creative is built for, though the channel argument is advocacy rather than part of the method.
Customer research is the raw material for an ad, not a preliminary step
Creative strategy sits between two kinds of work that are often kept apart: the analytical work of finding out what an audience wants, what keeps them up at night, what they have already tried, and the words they use for their problem; and the creative work of turning those findings into a hook, script, or visual that stops a scroll.
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Neither half delivers results alone.
Beautiful ads fail without research behind them, while useful customer data can go unused by the creative team.
The priority is translating between those functions, not producing ads in isolation.
In beauty and wellness, shoppers have seen every claim, before-and-after, and credential in the category, so the work has to feel true, not merely look good.
A wellness brand kept iterating on borrowed formats and got flat results.
Aisha Ayanboade built out its ideal customer profile and mapped what customers were feeling before they began searching for a solution.
The hooks, angles, and emotional entry points then changed completely, showing how research can move the creative.
The ad has to match the market's awareness level, not the level the brand wishes it were at
Aisha Ayanboade sets out a five-level scale of market awareness, from a category where nobody knows the product exists, through competitors entering and consumers comparing features, to saturation, where buyers want a specific benefit, and hyper-competition, where they expect advanced results.
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A recurring mistake is writing an ad that explains what a product does to a customer who already knows.
At higher levels, buyers do not need education; they need a reason to switch.
Choosing the angle, in this account, starts with diagnosing where the market actually sits.
The levels are illustrated with beauty categories: the first mineral makeup drops; BareMinerals and Jane Iredale entering with their own lines; Maybelline and L'Oreal liquid foundations competing on features; and mascara buyers who are no longer buying mascara, but a specific benefit such as volumizing, waterproof, or lengthening. Anti-aging foundations from Olay, Clinique, and Estee Lauder represent hyper-competition, where shoppers expect skincare and makeup in one product.
Copying a competitor's winning ad is a budget risk
Swiping a competitor's hook, structure, and energy produces flat results because the original worked for a specific market at a specific moment of awareness—and that moment has passed.
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Aisha Ayanboade credits Eugene Schwartz's Breakthrough Advertising with the framing that no formula works twice, and that a formula is only a written solution to a past problem.
The reframe: desire already exists in a market, and the job is to find where it lives in your own customer, not reuse how someone else channelled it.
Without your own customer research, the only material left is someone else's answer.
The post describes five brands running a competitor's blown-up hook in the same format, structure, and energy, with none getting the same results. It returns to the wellness brand, whose results shifted only after research and a customer map replaced borrowed formats.
Honesty about what a product will not do, when the category has run out of claims
In a saturated category, conceding a limitation can be the most persuasive move because the audience has heard every exaggeration and believes the biggest promises least.
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Aisha Ayanboade puts the limitation in the ad and redirects it to the buyers that limitation actually qualifies for, rather than repeating the category's standard promise. Once the market is saturated, product education and hype are spent; credibility is what remains to compete with.
For Lifepro Waver, a vibration plate, the whole category claimed the product replaces the gym in ten minutes a day, and nobody believed it.
The chosen angle said plainly that it would not replace the gym, then addressed people for whom the gym was off the table because of their knees, back, or recovery, framing the device as a way to keep moving.
Aisha Ayanboade identifies the line stating the product's limitation as the one worth putting money behind.
Paid social placement as the practical distribution layer
One argument steps back from craft to the channel: running Meta ads is framed as renting a targeting system built on more than two decades of accumulated user data across Facebook, Instagram, and WhatsApp, including age, income bracket, and what people scroll past, stop for, and buy.
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The warning is that brands not running ads are leaving their exact customers to competitors who are. This sits alongside, rather than within, the creative method: it advocates for the channel, making it worth separating the buyer-data claim from the creative-strategy claim when weighing the overall priorities.
The post traces Facebook's build-up from its 2004 school-based launch, through 250,000 users across 34 schools, to the 2006 opening to anyone over 13 and the later combination of Facebook, Instagram, and WhatsApp. It notes that MasterCard was advertising on the platform in 2004 and argues that no other company holds comparable information on buyers.
A clear starting point for how Aisha Ayanboade begins creative work: research first, borrowed format second.
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It shows the method before the examples that use it.
Aisha Ayanboade argues that copying a competitor's successful ad is the quickest way to burn budget because the original worked for a specific market at a specific moment of awareness that no longer exists.
The post cites Eugene Schwartz's Breakthrough Advertising and the idea that no formula works twice.
Its concrete example is a wellness brand that kept iterating on borrowed formats and got flat results until Ayanboade researched the ideal customer profile and mapped what the customer felt before searching for a solution.
The creative then changed in its hooks, angles, and emotional entry points.
For brands planning a campaign
A brand briefing this engagement should expect a research phase before any hook is written. It should supply access to customer language and prior creative performance so the angles can be built from the audience rather than from competitor ads.
It explains what Aisha Ayanboade means by creative strategy, the phrase most likely to bring someone to this name.
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Useful for a newcomer deciding whether the approach matches their in-house gap.
The post defines creative strategy as the bridge between two sides of the work: the analytical side, covering data, research, and metrics, and the creative side, covering hooks, scripts, and visuals.
The analytical side establishes what an audience wants, what they have already tried, and the language they use for their problem; the creative side turns that into something that stops a scroll at 11pm.
Aisha Ayanboade notes seeing beautiful ads flop with no research behind them, and brands with useful data that never reached the creative.
The framing targets DTC beauty and wellness, where customers have already seen every claim and the work needs to feel true rather than just look good.
For brands planning a campaign
The described fit is a brand with strong performance data but weak creative, or strong creative instincts but no customer research. Scope the engagement as translation between those two functions, not as a standalone ad-production service.
It shows how Aisha Ayanboade diagnoses a market before choosing an angle.
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Readers looking for a concrete framework rather than generalities about testing should open this one.
The post lays out a five-level model of market awareness, from Level 1, where nobody knows the product exists, through increasing competition and feature comparison, to Level 5, where consumers expect advanced results.
Each level has beauty-category examples: mineral makeup launches; BareMinerals and Jane Iredale entering; Maybelline and L'Oreal liquid foundations; mascara buyers choosing between volumizing, waterproof, and lengthening; and anti-aging foundations from Olay, Clinique, and Estee Lauder.
The stated mistake is writing an ad that explains what a product does to a customer who already knows, when that customer needs a reason to switch.
For brands planning a campaign
Before production, the brand and creator should agree on the category's level of awareness, because that determines whether the ad educates or differentiates. A saturated beauty or wellness category should not be briefed as an awareness problem.
The clearest worked example of the method: it includes the actual angle and the line the creator would put money behind, showing what the output looks like.
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The post describes a vibration plate category where every ad claims the product replaces the gym in ten minutes a day, and nobody believes it.
For Lifepro Waver, Aisha Ayanboade took the opposite angle: saying the product will not replace a gym and targeting people whose knees, back, or recovery keep them out of one, framing the device as a way to keep moving.
The argument is that admitting the limitation is the most persuasive move when the audience has already heard every exaggeration in the category.
The post names the specific line about the product's limitation as the one worth funding.
For brands planning a campaign
For categories with exhausted claims, a campaign should allow for an honesty angle that names what the product does not do. This shows how the approach can produce a specific, usable ad angle, not just a process description.
It shows the channel stance behind the strategy work: Meta advertising as the practical distribution layer for DTC brands, alongside a short history of how the targeting data accumulated.
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The post traces the build-up of Facebook's user data from 2004 onward, including early school-based growth, the 250,000-user mark across 34 schools, the 2006 opening to anyone over 13, and the later combination of Facebook, Instagram, and WhatsApp.
Aisha Ayanboade notes MasterCard advertising on the platform in 2004 and argues that no other company holds comparable information on buyers' age, income bracket, scrolling behavior, and purchases.
The post frames running Meta ads as renting that targeting machine and warns that businesses not running them are leaving their exact customers to competitors who are.
It argues for the channel rather than walking through campaign setup.
For brands planning a campaign
The posts assume Meta as the paid channel.
For a campaign aimed at Meta, confirm platform fit and existing account history.
Expect channel advocacy rather than neutral channel comparison; creative strategy is the layer being sold.
Customer research comes before the hook, not after it
Aisha Ayanboade argues that creative strategy sits between two worlds: the analytical work of learning what a customer wants, fears, has already tried and how they describe the problem, and the creative work of turning that into a hook, script or visual that stops a scroll.
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In this account, beautiful ads fail when no research sits behind them, and research fails when it never reaches the creative. For DTC beauty and wellness audiences, shoppers have already seen every claim and badge in the category, so an ad has to feel true, not merely look good.
Builds an ICP, maps what customers feel before they search, and derives hooks, angles and emotional entry points from that map rather than from competitor formats.
For brands planning a campaign
For a beauty or wellness brief, test the research-to-creative handoff, not just the final ad concepts. Ask for the customer language, failed solutions and pre-search feelings behind each angle to judge whether the hooks are grounded or decorative.
Market awareness level decides what the ad is allowed to say
One post sets out a five-level market scale, from a category where nobody knows the product exists through crowded comparison stages to saturation, where buyers want a specific benefit, and hyper-competition, where they expect advanced results.
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The recurring mistake: brands write ads explaining what a product does when customers already know.
At high awareness levels, buyers need a reason to switch, not education.
The post illustrates the levels with beauty categories such as mineral makeup, liquid foundations and mascara buyers choosing volumizing or waterproof rather than mascara in general.
Classifies the category on a five-level awareness scale, then selects an angle to match its level rather than the level the brand wishes it occupied.
For brands planning a campaign
State the campaign’s market level before approving angles. In a saturated beauty segment, expect the work to lead with a specific benefit or reason to switch; reject product-explainer concepts as a mismatch.
A full post argues that swiping a competitor’s hook, structure and energy produces flat results because the original worked at a specific moment of market awareness that has passed.
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The post credits Eugene Schwartz’s Breakthrough Advertising with the idea that no formula works twice and that a formula is only a written solution to a past problem.
It reframes the job as finding where desire already lives in your own customer.
The worked example: a wellness brand iterating on borrowed formats got flat results until research and an ICP map changed the hooks and angles entirely.
The argument draws on one attributed framework (Schwartz) and one anonymized client example. Treat it as a working principle, not independently verified performance data.
For brands planning a campaign
For any creative submission built on a competitor reference, ask which specific customer moment the borrowed format addressed and what replaces it. This is a useful brief constraint for wellness brands whose competitors all use the same format.
Honesty as the persuasion angle in a saturated category
A post describes work for Lifepro Waver, a vibration plate product.
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Every ad in the category promised a gym replacement in ten minutes a day, and nobody believed it.
The chosen angle says the product will not replace the gym, then addresses buyers for whom the gym is off the table because of knees, back or recovery.
The claim: naming the product’s limitation is the most persuasive move when an audience has heard every exaggeration, and this is the line worth putting budget behind.
Writes the product’s limitation into the ad copy and redirects it to the audience that limitation qualifies for, rather than repeating the category’s exaggerated promise.
For brands planning a campaign
Where the category has burned through its claims, test a limitation-first script that concedes what the product will not do and names who it is actually for. Ask to review the concession line before production; it is the concept’s load-bearing part.
One post steps back from creative craft to argue for paid placement on Meta.
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It frames advertising there as renting a targeting system built on two decades of accumulated user data across Facebook, Instagram and WhatsApp, and warns that businesses not running ads are leaving their customers to competitors.
It also notes that audience data on age, income and scrolling behaviour already exists.
The post sells the channel rather than showing how an angle is built.
This reads as platform advocacy rather than a documented campaign. Weight it lower than the research and awareness posts when judging creative capability.
For brands planning a campaign
Treat this as a signal that paid social distribution is part of the recommended engagement, not evidence of creative method. Ask separately what portion of the work covers angle and copy versus media placement and targeting.
Posts here name one brand engagement and one unnamed client reference.
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Aisha Ayanboade describes building an honesty-led ad angle for Lifepro Waver, but the post does not label the arrangement as client, sponsorship or employment.
Another post mentions working with an unnamed wellness brand.
Other brand names in the posts, including BareMinerals, Maybelline, Meta and MasterCard, appear as market examples or platform commentary rather than documented relationships.
Ask what the Lifepro Waver arrangement was and which wellness brand was involved.
Lifepro Waver
Disclosed partnership
Aisha Ayanboade describes developing an ad angle for Lifepro Waver that names the product’s limitations and focuses on honesty.
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The post presents this as creative work in a DTC campaign context. Ask whether the relationship was a client engagement, sponsorship or another arrangement.
Aisha Ayanboade’s posts answer one question: what happens before the first hook is written?
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The worked examples—a wellness brand stuck on borrowed formats, a ten-minute-gym-replacement category where every claim had been burned, and a five-level map of how much a beauty or wellness market already knows—all turn on diagnosing the customer and the category before choosing an angle.
Read the awareness-level post first for the framework, then the vibration plate post for its sharpest application: an ad that concedes a limitation and names who the product is really for.
The Meta placement post is worth reading separately because it argues for the channel rather than demonstrating craft; it focuses on distribution rather than the creative itself.
Works on the same territory from the paid social side: DTC ad accounts, competitor ad research, and deciding what to test next rather than what looks good.
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Both treat the ad library and the account’s own numbers as working material before making creative.
Aisha Ayanboade builds angles from customers’ own language and pre-search feelings.
Ladie Pabillar’s playbook leans on mining competitors’ winning ads and grouping them by angle, with much of the writing focused on scaling decisions: tracking spend, click rate, CPM, frequency, and when ROAS is being read in isolation.
They differ on swiping competitor work, which Ayanboade treats as a budget risk.
Makes the same case for research and specificity before copy: read where the audience vents, use their exact words, and write to one person with one problem instead of everyone.
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Both illustrate the point with before-and-after numbers from client work.
Amir Faizan Malik works across landing pages, email sequences, and ad copy for coaches and course creators as well as DTC brands, and shares conversion-rate and hook-rate results for those assets. Aisha Ayanboade focuses on ad creative for beauty and wellness and presents a market-awareness framework rather than a funnel-wide service list.
Writes about Meta ads and creative testing for DTC and ecommerce accounts, and warns against letting one winning creative carry the whole account—the same instinct behind the view that a single borrowed format cannot keep working.
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Ujla Shakoor focuses on the pipeline and the account: keep several hooks, angles, and formats in testing so the next winner is already running, and treat rising CPA as a creative-fatigue problem. Aisha Ayanboade focuses on the diagnosis before testing and writes less about account metrics and campaign structure.
For a DTC beauty or wellness brand, Aisha Ayanboade’s posts show a small LinkedIn following and content written for marketers and brand operators in the category.
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They discuss DTC beauty and wellness brands, creative strategy, market awareness levels, and copy testing, making them relevant to people who make or influence ad creative.
Before treating the audience as a distribution channel, ask for recent reach and engagement on comparable posts, plus survey or platform data on geography, age, gender, employer, occupation, and job seniority.
Ayanboade can be assessed as a practitioner voice for a creative strategy engagement, but the audience cannot be counted as a verified DTC beauty or wellness buyer audience.
LinkedIn followers
628
LinkedIn account record for Aisha Ayanboade · 2026-10-09
Aisha Ayanboade's posts show hands-on client creative work but do not document partnership formats, sponsorship terms or an inquiry route.
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They describe building an ad for Lifepro Waver around an honesty angle—stating the vibration plate's limitation rather than repeating the category's "replace your gym" claim—and reference a wellness brand engagement without naming the client, where competitor research and ICP mapping preceded the hooks and angles.
These examples suggest a research-first approach to angle and copy development, but not the commercial terms.
Ask about turnaround times, deliverables, pricing, usage rights, exclusivity, revision rounds and approval steps in a first conversation.
The LinkedIn profile named in At a glance is the route to approach them.
A DTC beauty or wellness brand is a strong fit when its category is saturated and its problem is creative, not distribution.
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The clearest case: the brand knows customers buy in the category, has research or performance data that never made it into the ads, and keeps getting flat results from angles borrowed from competitors.
Aisha Ayanboade’s stated method is to build the customer picture first—what buyers want, what they have already tried, the words they use for the problem, and how they feel before they start searching—and only then choose the hook.
Two examples show the approach in practice: a wellness brand moved beyond borrowed formats and changed its hooks, angles, and emotional entry points after an ICP exercise; a Lifepro Waver ad acknowledged that the vibration plate would not replace a gym and targeted people kept out of one by their knees, back, or recovery.
The material points to a research-and-angle phase followed by copy, with Meta as the assumed paid channel.
The approach suits a brand seeking a diagnosis of its category position—how aware the market is and what claims it will accept—and a defensible reason to switch, rather than a larger pile of variants.
The material does not document pricing, turnaround, deliverables, revision rounds, usage rights, or an inquiry route; settle those terms directly.
Audience evidence is also thin: a LinkedIn following of 628, with no platform demographics, engagement rates, or survey data.
If reach is central to the brief, ask for audience data before approving it.
When to choose a specialist
A poor fit is a brand seeking creative volume from competitor swipe files or treating audience size as the product.
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A request for fifty hook variations mined from winning competitor ads runs counter to Ayanboade’s argument that copying a format burns budget: it worked for a specific market at a moment of awareness that may have passed.
A brand seeking product education in a crowded beauty or wellness category is another mismatch.
The stated pattern is that brands explain what a product does to buyers who already know, when the market needs a reason to switch instead.
A Level 2 awareness brief aimed at a level 4 or 5 market is diagnosed as the mistake, not the job.
A distribution-led deal is also a poor fit.
One post advocates for Meta advertising rather than walking through campaign setup, and the LinkedIn following is small, with no engagement, demographic, or buyer-composition data.
The posts do not substantiate a reach buy through Ayanboade’s audience.
Nor do they publish firm commercial terms: no sponsor policy, rate card, media kit, or inquiry route appears.
That does not mean Ayanboade never takes paid work; agree terms before costing a plan.
A worked campaign example
A DTC wellness brand sells a recovery-focused product in a category where every competitor promises a complete transformation, and sales have gone flat.
The brand has customer interviews and ad account data but no clear angle.
1) Fix the market level.
First decide which awareness level the category occupies: that determines whether the ad can educate or has to differentiate.
In a saturated recovery category where buyers have seen every claim, treat the market as highly aware: skip education and give buyers a reason to switch.
2) Use customer material before writing.
Build the angle from what buyers say about the problem, what they have already tried, and how they felt before searching—not from the leading competitor’s current hook.
Use the brand’s interviews and set borrowed formats aside.
3) Choose the persuasion register.
In a category that has burned through its claims, use the honesty angle from the Lifepro Waver example: state the product’s limitation plainly and target the people it actually suits.
For example: “this is not for someone who wants a full programme; it is for people whose training has stopped because their body stopped cooperating.”
Review that concession line before production; it carries the concept.
4) Set the channel and deliverable order.
Meta is the assumed paid channel in the posts, so confirm the brand runs it and has account history.
The realistic sequence is research and angle first, then hooks, scripts, and visuals.
5) Settle commercial terms separately.
The posts do not document pricing, timeline, revision rounds, usage rights, or exclusivity; agree them in the first conversation.
The decision turns on whether the brand will fund research before any hook is written, can supply customer language and prior creative performance, and accepts a limitation-first angle rather than a promise-led one.
A better choice for a brand starting from a live ad account rather than a blank page.
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If the brand is already spending and cannot tell whether a ROAS drop comes from the creative, the offer, or the audience, Pabillar's posted method is built for that question: build a daily tracking sheet, then read click rate, conversion rate, CPM against click rate, frequency, view-through conversion, and weekly new reach below 20% before deciding to scale.
Pabillar also publishes a competitor-angle method for refilling a creative pipeline.
A brand that wants its account diagnosed and a steady supply of tested angles would get more from this than from an angle rebuild that starts with customer research.
The entry point is the competitor's ad library, which Ayanboade's posts treat as the cause of flat results.
Pabillar's answer to a tired account is faster diagnosis and more angles; Ayanboade's is to rebuild the angle from the customer's own language first.
The two posts show one media-buying diagnostic and one competitor-harvesting method, both framed for accounts already at scale.
A brand whose problem is positioning in a saturated beauty category would get an account audit rather than a new reason to switch.
A better choice when the deliverable is copy itself and the brand wants reported conversion movement rather than a strategy phase.
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Malik's posts show an audit of 23 DTC landing pages, a conclusion that 19 of them spoke to everyone instead of one buyer, a headline rewrite reported to move conversion from 2.1% to 8.4%, an email sequence for a tile installation course at 55.6% average open rate and 8.23% average click rate, and ad creative for a men's lifestyle brand at 53% hook rate and 3.87x ROAS. The posted method is message specificity: name the one person the page is for, use the audience's own language, and test hooks against measured results.
The demonstrated work spans DTC, coaching, and course clients rather than beauty and wellness, so the brand would be extrapolating rather than buying visible category experience; ask for relevant examples.
The posted method starts at the message, not at a category-awareness diagnosis, so a brand that cannot say whether its market needs education or a switching reason may need to supply that upstream before the copy work is useful.
Both posts invite direct contact, so ask about scope, pricing, and terms.
A better choice when the brand's concern is creative durability — that the whole account rests on one winning ad.
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Shakoor's posted argument is that scaling behind a single hook, angle, and message is the real risk, because when that creative tires the whole account feels it.
The recommended response is to keep a pipeline of new hooks, angles, customer problems, and formats running in test before the current winner fades.
A brand that already has a strong performer and no clear next one is closer to this framing than to a research-first strategy rebuild.
The posts here offer a career reflection and one testing argument.
The reflection sets out a mindset and a sequence — always ask what is being tested next — but not a documented engagement method, client results, or beauty and wellness work.
A brand would be buying a testing discipline it has to scope in conversation, not a published process it can judge in advance.
The difference from Ayanboade is where new angles come from: Shakoor's post does not say, while Ayanboade's method sources them from customer research, prior performance data, and the buyer's own words.
Aisha Ayanboade's five LinkedIn posts cover research-led creative strategy for DTC beauty and wellness brands, a five-level market awareness model, the risk of copying competitor ads, an honesty-led angle for Lifepro Waver, and a case for Meta advertising.
The post text carries no publication dates, so these are recurring positions rather than a chronology.
A LinkedIn profile showed 628 followers on 9 October 2026; no engagement, demographic, or buyer-composition data is available here.
No separate biography, media kit, pricing, sponsor policy, or signature-work sources are available here.
The Lifepro Waver post describes creative work but does not label the arrangement as a client engagement, sponsorship, or employment, so the brand relationship is described only as the post presents it.
Other brand names in the posts appear as market examples or platform commentary rather than documented relationships.
