Lachezar Voynov shares paid-social and creative strategy for e-commerce brands, with a focus on scaling Meta ads through founder stories, creative testing, and subscription offers.
Useful for e-commerce brands seeking Meta ad creative testing and founder-led ad advice.
Best for
DTC e-commerce brands spending over $100,000 monthly on Meta and open to subscription offers.
Not for
B2B software brands seeking sponsored posts, or brands without DTC products or Meta ad accounts.
Key takeaways
They say founder-video test cut CPA by 50% and new-customer CPA by 60%.
They argue top-of-funnel ads should be judged partly by new visitors.
They say Resilia used 1,170 new ads a week.
Check first: Confirm whether sponsored placements are available and ask for evidence behind the ad results.
Main ideas
The founder is a brand's strongest creative asset · Prospecting creative needs its own cost target, not the account's blended CPA · Creative volume per week is the real growth engine
Lachezar Voynov shares advice on scaling e-commerce advertising, especially Meta campaigns.
Voynov's posts focus on founder-led ads, how to judge creative at different stages of the funnel, and the volume and team structure needed to test new ads.
Voynov's posts do not say whether Voynov has a signature book, show, business, or earlier work that also explains why people search Voynov's name; more information about those areas would help complete the profile.
Voynov connects creative choices to how an ad account is measured and run.
In one post, they describe a founder-video test that they say cut cost per acquisition by 50% and new-customer acquisition cost by 60% in seven days.
They then outline a repeatable production routine: prepare three to five brand-related questions, record a loosely scripted two-to-three-minute talk, and repeat monthly.
In another post, they argue that top-of-funnel ads should be judged partly by the new visitors they bring, rather than held to the same cost target as retargeting ads.
They also distinguish the roles of an in-house team and outside agencies, and use a 1,170-ads-a-week estimate for Resilia to illustrate creative throughput.
These examples offer practical ideas about ad testing and growth.
The figures and case details are claims in their posts; ask for supporting evidence before relying on them.
Lachezar Voynov's ideas centre on one argument: DTC advertising growth depends on how much creative a brand can produce and what its offer lets it afford, not on finding a single winning ad.
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Two positions recur across the posts.
First, founder-led video outperforms polished alternatives, and the answer is a repeatable monthly production routine rather than a one-off shoot.
Second, most brands judge creative by the wrong cost standard, applying the same CPA target to prospecting and offer ads.
The other arguments cover staffing (agencies and an in-house team should do different jobs), throughput (creative volume measured in new ads per week), and offers (subscriptions raise the ceiling on what a brand can spend to acquire a customer).
The founder is a brand's strongest creative asset
Voynov argues founder-story ads are the top-performing content for e-commerce clients and that founders who stay out of content creation do their brands a disservice.
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The argument is not just about using the founder's face: the footage works, they say, when it is loosely scripted, with three to five prepared questions, two to three minutes of the founder talking to camera, raw files handed to the content team, and the session repeated monthly. They have held this position since summer 2024.
A DTC ad account had already tested UGC, AI UGC, static ads with a discount offer, and UGC statics.
Each worked to a point, but none scaled.
After the team introduced founder-led video, Voynov reports CPA fell 50% and new-customer CPA fell 60% within seven days.
Voynov connects the recommendation to a deliberate pattern repeated every month since summer 2024, framing it as a standing priority rather than a single test result.
Prospecting creative needs its own cost target, not the account's blended CPA
Voynov argues top-of-funnel creative needs a higher CPA tolerance than mid- and bottom-funnel ads pushing a limited-time offer.
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Applying one target to both kills strong prospecting ads before they can work.
They propose tracking the share of new visitors each creative brings and setting a separate amount the brand can afford to spend on new customers.
Looking only at ROAS or blended CPA, they say, will not carry an account past $10M a month.
Formats they name for scaling top-of-funnel include direct-response scripts that tell a story, songs that tell a story, and authority figures explaining a problem.
Voynov describes an eight-figure brand whose ad creative went viral and was copied by other eight- and nine-figure DTC brands, but never scaled because it could not sustain the CPA of the brand's bottom-of-funnel ads.
Creative volume per week is the real growth engine
Rather than point to one standout ad, Voynov argues that the number of concepts in test explains why some brands outpace others.
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They recommend working backwards from a target number of new ads per week to determine how many concepts, variations, and production pods a brand needs. Output volume, not the search for a hero asset, is the operating priority.
Voynov cites Resilia, which they describe as running at $300M+ a year, as the benchmark: a minimum of 26 creative pods, roughly 15 concepts per pod per week, and three variations per concept—at least 1,170 new ads per week.
Split creative work by risk: agencies for big swings, in-house for fast iteration
Voynov recommends an internal creative team working alongside two or three agencies, each with a distinct mandate.
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Agencies see what works across many high-spending accounts, so they should take on net-new, higher-risk ideas; the internal team can quickly iterate on what already works inside the account.
They call direct comparisons of agency and in-house output a category error because the two serve different purposes.
Voynov acknowledges agencies have a poor reputation, but argues that a handful are exceptionally good at producing winners and that brands should hire two or three.
The recommended setup is an in-house team plus two or three top agencies: agencies focus on net-new and big-swing concepts, while the internal team develops variations of existing winners.
Voynov argues that a one-time-purchase DTC brand is nearly impossible to scale to nine figures because subscriptions' high lifetime value lets a brand outspend everyone else in its market.
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The recommendation is structural rather than creative: if they were starting a brand, Voynov says, it would be subscription-based. Offer design determines how much a brand can afford to pay for a customer in the first place.
One client moved from $1M to $2M to $5M per month in sales within about six months as subscriptions took hold. Voynov also cites IM8 passing $100M ARR in eleven months on the strength of its subscription offer.
Start here if you are deciding whether a brand's founder belongs on camera.
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It offers a concrete before-and-after on an account that had already tried the standard creative formats, and describes the production routine that made the difference.
Voynov describes a DTC ad account that had already cycled through UGC, AI UGC, static discount ads, and UGC statics.
Each format worked up to a point, but none scaled.
Founder-led video changed the result: CPA fell 50% and new-customer CPA fell 60% within seven days.
The post gives a specific production method: keep the founder footage loosely scripted, prepare three to five questions tied to the brand, let the founder talk to camera for two to three minutes, hand the raw files to the content team, and repeat monthly.
They say this pattern has repeated since summer 2024, not just on one account.
For brands planning a campaign
Treat founder video as a cheap head-to-head test: run it against a UGC or static control and judge it on CPA and new-customer CPA. Budget for a recurring monthly raw-footage session with the founder, not a one-off shoot.
If your best-performing ad stops scaling, this explains why and what to change.
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It complements the founder-video case study by showing how to judge funnel-stage creative, organise a creative team, and understand why offer design sets the ceiling on media spend.
This is the framework post behind the case studies.
Voynov names three levers.
First, top-of-funnel creative needs a higher CPA tolerance than mid- and bottom-funnel ads.
They describe an eight-figure brand whose viral ad was never scaled because it could not sustain the account's bottom-of-funnel CPA target.
They argue brands should track the share of new visitors each creative brings and set an allowable budget for attracting new customers, rather than judging everything on ROAS or blended CPA.
Second, the creative operation should combine an internal team with two or three outside agencies on split mandates: agencies chase net-new, higher-risk ideas; the in-house team iterates proven winners quickly.
Third, subscriptions: one client moved from $1M to $2M to $5M a month as subscriptions took hold, and they point to IM8 passing $100M ARR in eleven months on a subscription offer.
Their closing claim is that scaling a one-time-purchase DTC brand to nine figures is nearly impossible.
For brands planning a campaign
Separate new-customer acquisition budget from retargeting and evaluate top-of-funnel creative on new-visitor share, not blended ROAS. If the campaign plan can include offer changes, model a subscription option early: high lifetime value changes how much a brand can pay to acquire.
This turns the vague instruction to “test more creative” into a weekly output target.
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Read it for a scale reference before building a testing calendar or costing a pod structure.
Voynov points to Resilia, which they describe as running at $300M+ a year, as the benchmark for creative throughput.
They state a minimum of 26 creative pods working on the account and do the arithmetic: 26 pods × 15 concepts a week × 3 variations each works out to at least 1,170 new ads per week.
The model is the point: output volume is presented as the reason the brand scales faster than other DTC advertisers.
For brands planning a campaign
Work backwards from a target number of new ads per week to decide how many concepts and variations you need and how many people to produce them. Use the 26-pod figure as a planning benchmark; ask for account-level confirmation before treating it as verified.
Voynov says founder-story ads were the top-performing content for their e-commerce clients across 2024 and 2025, and that a founder who stays out of content creation is doing the brand a disservice.
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In the account they describe, founder-led video cut CPA by 50% and new-customer CPA by 60% within seven days, after UGC, AI UGC, discount statics, and UGC statics had each worked only to a point.
Keep the footage less scripted, prepare three to five questions tied to the brand, let the founder talk to camera for two to three minutes, and hand the raw files to the content team. Voynov describes repeating this monthly rather than shooting once.
The performance figures come from Voynov's own description of work with clients. Before relying on them, ask for account-level data and client confirmation.
For brands planning a campaign
Budget founder or executive time as a production input, not a one-off asset. Plan a recurring monthly shoot slot and a small question set, and evaluate founder-led ads on new-customer cost rather than expecting them to match an existing offer ad.
Voynov attributes a DTC brand's pace to creative throughput rather than a single winning ad: 26 creative pods, roughly 15 concepts per pod per week, and three variations per concept, which they put at a minimum of 1,170 new ads per week.
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The numbers describe one brand's setup. Before using them to plan spend, ask how the concepts were tested, how many were killed, and what the spend level was.
For brands planning a campaign
For a brand planning spend at scale, the staffing and briefing question is how many concepts per week the team can produce, not which one hero ad to make. Ask a creative partner for its weekly concept and variation output before assuming its results transfer.
Voynov argues top-of-funnel creative needs a higher CPA tolerance than the mid- and bottom-funnel ads pushing a limited-time offer.
Read more
In one case, a creative went viral and was copied by other eight- and nine-figure DTC brands but was not scaled because it could not sustain the CPA of the brand's bottom-of-funnel ads. Voynov proposes tracking the share of new visitors each creative brings and setting an amount the brand can afford to spend on new customers, arguing that ROAS or blended CPA alone will not carry an account past $10M per month.
For brands planning a campaign
Set separate targets for prospecting and offer creative before testing, and agree in advance on a new-customer acquisition budget. Otherwise, a strong prospecting ad will be judged against an offer ad's CPA and cut before it can work.
Voynov recommends running an internal creative team alongside two or three agencies, with different jobs: agencies see what works across many high-spending accounts and should take net-new, bigger-swing ideas, while the internal team iterates quickly on what already works inside the account.
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They treat direct comparisons of agency output against in-house output as a category error because the two serve different purposes.
For brands planning a campaign
Split the creative work by risk rather than duplicating it across vendors. Give external partners the unproven concepts, and reserve internal capacity for fast variations on proven winners.
Voynov presents subscriptions as the main lever behind a client's rise from $1M to $2M to $5M per month in sales within roughly six months, and argues that scaling a one-time-purchase DTC brand to nine figures is nearly impossible because high lifetime value lets a brand outspend the market.
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IM8 is cited as scaling past $100M ARR in 11 months on the strength of its subscription offer.
Voynov reports this as a client outcome without supporting figures, and the IM8 comparison rests on revenue reaching rather than advertising performance.
For brands planning a campaign
For a brand without a subscription or repeat-purchase model, treat paid social as a contribution-margin exercise rather than an unlimited scale play, and weigh whether an offer redesign is the more useful investment.
Lachezar Voynov's posts describe a DTC paid-social and creative operation, referring to “our clients,” “$25M in monthly Meta spend,” and open slots for brands spending over $100k/mo.
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They do not name the firm Voynov owns or works for, so no business item is listed.
IM8 and Resilia appear as public examples of what scales, not as disclosed clients or partners.
Ask Voynov to clarify their firm and any client or partner relationships.
IM8
Mention
Voynov cites IM8 as an example of subscription-led growth, saying it passed $100M ARR in 11 months on the strength of its subscription offer.
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They present it as a market example, not as a client or partner.
Voynov cites Resilia as an example of creative volume, saying the company, at $300M+/year, runs a minimum of 26 creative pods that produce roughly 1,170 new ads a week.
Voynov's posts offer an operator's perspective on scaling DTC brands with paid social.
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The founder-story post gives a before-and-after example: after UGC, AI UGC, and discount statics stalled, founder-led video cut CPA by 50% and new-customer CPA by 60% in seven days.
Two threads follow.
First, creative throughput: brands win by producing many concepts and variations.
Voynov cites Resilia's roughly 1,170 new ads per week and advises using two or three agencies for net-new bets alongside an in-house team for fast iterations.
Second, cost accounting: prospecting creative needs its own CPA target rather than the blended number used for bottom-of-funnel offer ads, while subscriptions raise the ceiling on what a brand can spend to acquire a customer.
Readers can compare their creative cadence, funnel targets, and offer model with the benchmarks described in these posts.
Meta advertisingDTC eCommerceCreative testingCreative volume and productionFounder-led contentTop-of-funnel CPASubscription commerceAgency and in-house creative teamsPerformance marketingLinkedIn postsDTC brand operators
Both write about DTC brands scaling on Meta and treat creative volume as a main variable.
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Farah's post about brands launching 40-60 new creative assets monthly makes the same throughput argument Voynov makes with 1,170 ads per week at Resilia.
Farah compares budget-scaling behavior across 31 e-commerce brands spending $100k+/month and reports aggregate patterns. Voynov focuses on named client examples, extending the argument to founder-led creative, agency staffing, and subscription offers.
Both work on the operational side of performance creative: UGC supply, testing methods, and how agencies turn creative into a repeatable system rather than one-off freelancer work.
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Sebastian focuses on agency process problems — creator pricing, client load, briefs, and hook-testing inside Ads Manager. Voynov focuses on founder-led content, top-of-funnel CPA targets, and creative volume as growth levers.
Both create and discuss paid-social ads for DTC brands, including UGC and direct-response formats.
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Jim's hiring post and Voynov's posts share the assumption that volume and conversion-focused editing drive performance.
Jim writes about building an editing team and about AI search and affiliate visibility. Voynov writes about founder-led creative, funnel-stage cost targets, and subscription-led scale.
Lachezar Voynov’s posts focus on paid-social creative for e-commerce brands, including founder-led ads and Meta growth.
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For a DTC campaign, ask for recent audience results and delivery data for comparable creative topics, formats, and depth. If professional roles matter, request survey results or another documented source.
There is no media kit, rate card, sponsored-post format, or partnership page, so brands planning to pay for placements in Lachezar Voynov's own content have no published terms to budget against.
The commercial route they describe is client work: in March 2025, Voynov invited DTC brands spending over $100,000 a month to ask about three open slots by direct message.
A later post says the team writes as "we" and oversees $25 million in monthly Meta spend, with most clients making $1m+ a month from Meta alone.
This points to an agency or consulting engagement rather than a creator sponsorship.
Confirm scope, pricing, contract length, and current capacity.
Brands considering sponsored LinkedIn posts should ask directly whether that offer exists.
Paid social and creative services for DTC brands
Buyer requirement
The stated entry point is a direct LinkedIn message.
The only published qualification threshold is monthly ad spend above $100,000 for DTC brands seeking help scaling ad creative.
A March 2025 post mentioned three open slots; confirm current availability, pricing, deliverable scope, and contract terms in writing before committing budget.
Expect work to focus on top-of-funnel creative, founder-story ads, and creative testing rather than standard sponsored posts.
Brief: a DTC eCommerce brand already spending more than $100,000 a month on Meta wants to scale paid social profitably, needs a founder-led creative test, and is open to changing its offer to a subscription.
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This brief is what Voynov’s reviewed work speaks to most directly, on four specific points.
First, the before-and-after is concrete.
In one account that had already cycled through UGC, AI UGC, discount statics, and UGC statics, founder-led video cut CPA by 50% and new-customer CPA by 60% within seven days.
They describe repeating the format since summer 2024, rather than presenting it as a one-off.
The production routine is small enough to test cheaply: keep the footage loosely scripted, prepare three to five brand questions, let the founder talk to camera for two to three minutes, hand the raw files to an editor, and repeat monthly.
Second, the brand is likely to face the problem their framework post addresses.
A prospecting ad that brings new visitors will not hold the same CPA as an ad pushing a limited-time offer, and judging it on blended ROAS is why good creative gets cut.
Their fix — track the share of new visitors each creative brings and set a separate amount the brand can afford to spend on new customers — applies directly to a brand at this spend level.
Third, the creative-team question is already answered.
They recommend an internal team plus two or three agencies on split mandates: outside partners chase net-new, higher-risk ideas, while the internal team quickly iterates on proven winners.
A brand scaling past its current spend needs that structure rather than one more vendor.
Fourth, subscriptions support the same goal.
They argue that a one-time-purchase brand struggles to reach nine figures because low lifetime value caps how much it can pay to acquire a customer, and cite one client moving from $1M to $2M to $5M a month as subscriptions took hold.
A brand willing to test that offer change gets the most from this fit.
The commercial route is an agency or consulting engagement, not a sponsorship.
The one published entry point is an invitation to DTC brands spending over $100,000 a month to send a direct message; three slots were open when that post was written in March 2025.
Confirm scope, pricing, contract terms, and current availability in writing.
When to choose a specialist
A B2B software company wants to buy sponsored posts in Voynov’s own LinkedIn feed to reach eCommerce operators, and has no DTC product to advertise.
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This is a poor fit because the posts describe no sponsorship offer: there is no media kit, rate card, sponsored-post format, or partnership page, so a brand has no published terms to budget against.
The one commercial route they describe is client work on ad accounts, which does not serve a software company without DTC products or a Meta ad account.
Confirm directly whether sponsored placements are available and, if so, request the terms before planning a media buy.
There is also an audience mismatch.
Their posts focus on paid social for eCommerce brands: founder-story ads, top-of-funnel tuition, creative production volume at a DTC brand, and subscription offers.
They do not describe work with software buyers, B2B pipelines, or non-eCommerce categories, so a software brand would be buying reach into an audience addressed as advertising practitioners, not software buyers.
The only stated qualification is DTC brands spending more than $100,000 a month.
A smaller advertiser or one without repeat purchase falls outside the described client profile; they also argue that a one-time-purchase brand has a hard ceiling on what it can profitably spend.
A brand below that threshold should not assume the same approach transfers.
If sponsored placements are the requirement, look at creators who publish rates and formats, and treat Voynov as a source of method rather than a media buy unless terms are confirmed directly.
A worked campaign example
A worked angle for the DTC brief: an eight-week founder-led creative test with a separate new-customer budget.
Weeks 1–2, build the control.
Run three founder-led video variations against the brand’s current best UGC or static ad, on the same audience and budget, and record two numbers for every ad: CPA and new-customer CPA.
Before launch, agree what the account can afford to pay for a new customer, independent of the offer ads’ CPA.
Without that number, the founder ad could be judged against a discount ad and killed early.
Weeks 2–8, produce on a schedule rather than for a shoot.
Hold one raw-footage session a month with the founder, prepare three to five questions about the brand, film two to three minutes of unscripted talking to camera, and hand the raw files to editors.
From each session, cut variations at the hook, opening line, and question order.
Log the share of new visitors each variation brings, not just its return on ad spend.
Run the creative operation on two tracks.
The internal team quickly iterates only on what already works in the account.
An outside partner takes the bigger, unproven swings: new angles, new formats, and story-led scripts.
Judge the two tracks separately; a direct comparison between agency output and in-house output will read as an underperformance on both sides.
Set a weekly output target before briefing anyone.
Decide how many new ads per week the account needs, then work backwards to concepts and variations.
For scale reference, Voynov describes one DTC brand running 26 creative pods at roughly 15 concepts each per week and three variations per concept, which they put at a minimum of 1,170 new ads a week.
Treat that as a sizing benchmark, not a verified account detail.
In parallel, test the offer.
Model a subscription or repeat-purchase option and estimate the change in lifetime value.
If it increases, the new-customer budget from week 1 can rise; that is where the profit comes from, rather than squeezing the current CPA.
Before spending, confirm whether they are taking new clients, what weekly concept and variation output looks like in practice, scope and pricing, and whether the $100,000-a-month spend threshold still applies. Also ask for account data or client confirmation of the cited performance figures; the individual ad examples referenced in the posts were not available to inspect.
Consider Farah Nyadu when the brand's constraint is creative volume and the pace of budget increases, and founder-led video is already working or is not the open question.
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The posts describe DTC brands at $100k+/month on Meta launching 40–60 new creative assets a month, testing more than 40 angles, killing losers within 72 hours, and doubling budgets overnight when signal thresholds are hit instead of raising budgets 10–20% every few days. That addresses the same buyer decision — how to spend more on Meta profitably — through creative velocity and conviction-based budget moves rather than through founder-story creative or offer design.
Lachezar Voynov's posts focus on creative volume and budget scaling, not subscription offers, lifetime value or founder-led video. Brands choosing this route should ask separately how to change the offer, produce founder-led ads and set top-of-funnel CPA tolerance for scaling new-customer creative.
Consider Sebastian Novinsek when the problem is running UGC at scale without the operation breaking.
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The posts describe an agency UGC manager handling 17 clients solo, processes that work at 5 clients and crack at 8–10, creator pricing that changes unpredictably, and a way to test ten hook variations on one creator-shot body using Meta's Creative Testing Tool for roughly ten minutes of editing instead of commissioning ten new shoots. That answers a different part of a campaign: keeping creative testing cheap and organized as spend rises.
The posts focus on agency operations and hook-testing mechanics, including UGC process and testing structure. Brands looking to change their offer or build a founder-led ad program should seek guidance elsewhere.
Consider Jim Schroën when the brand needs to hire or scale an editing team for paid-social ads, or when the goal is for creator content to be cited by AI shopping tools.
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The posts describe hiring full-time remote editors for DTC brands spending €100k+/month, working in pods with creative strategists, and a case that UGC and affiliate content is what AI tools pull from when recommending products. That extends the same buyer decision into production capacity and AI-search visibility.
Lachezar Voynov's posts focus on production hiring and an AI-citation argument, not founder-led creative, top-of-funnel cost accounting or subscription offers. Brands should ask separately for guidance on the founder-story format and offer changes.
This profile draws on three full LinkedIn posts: a founder-story ad case study, a post on overseeing $25M in monthly Meta spend, and a post on creative output at Resilia.
The posts carry no publication dates; the work they describe spans 2024 and 2025.
No account-level data, transcripts, or the referenced ad examples were available, and Voynov's posts contain no books, shows, businesses, or earlier career details that would otherwise explain name searches.
Comparisons used posts by three similar creators.
Spend, sales, and creative-output figures are as stated in Voynov's posts, not independently verified.
