prepared for
confidential · for the malbon team only
You built the model everyone in golf is chasing. This is the system that lets your stories carry it.
Malbon already has the world's attention. The next move is keeping it.
Everything the RFP asks for is here: concepting, production, edit, programming, real-time coverage. But the brief is the floor, not the ceiling. The real opportunity is telling stories good enough that people stop admiring the brand and start seeing themselves inside it. That is the line between a following and a movement, between a season and a franchise.
We have already been in it with you. At Augusta. On the ground in Chicago, turning work around inside the hour. This is not a cold pitch from a company that has read about you. It is the next chapter of something already underway.
The Making of Malbon Home was one of the best things anyone in golf made last year. Work at that level deserves to run longer than a single launch window. The same is true across the board: a drop earns a few days, an event earns its weekend, and then attention moves to the next thing before the content has finished paying you back. There's a year of footage already shot and paid for, and most of it could still be working.
Malbon has grown faster than almost anyone in the category, and the team has made that happen through real talent and a lot of hustle. That's the achievement. The natural next step for a brand moving this fast is a system underneath the talent, so the brilliance becomes repeatable by design rather than recreated from scratch each time. That's not a fix for something broken. It's simply what every brand needs the moment it outgrows holding everything in its head.
Malbon Women has the most room to run of anything under the roof, with its own audience waiting for content built specifically for it. TikTok is wide open while Seoul and London are already wearing the brand. And the long-form work has a bigger audience than it has ever been shown to. None of this is a gap in the work. It's growth sitting in plain sight, waiting for someone to point people toward it.
A story is only as good as the person who sees themselves in it.
That's the whole job. Not "make people think it's cool," not "show the clothes." Make someone stop and say that's me. And underneath it sits the other half of the same feeling: or I want to be. Malbon lives exactly there, in the space between the dream and something a person can actually walk into. You earn it with a real point of view, held with taste, repeated with consistency, and delivered with a little nerve. It is how a name nobody has heard becomes a name people follow anywhere. None of it happens by accident. We map the whole distance deliberately, from the first time someone sees you to the day they turn up wearing you.
Consistent growth across every channel is not vanity. Every milestone raises the brand's value, puts more eyes on everything you sell, and builds the authority to move into new places, tennis, padel, whatever is next, without ever losing what makes Malbon 
. No competitor can copy the way you tell a story. Volume is what everyone else sells. This is what nobody in golf is building, and you are roughly 400,000 followers from a million.
Feature, episodic, editorial, documentary, commercial. We fell in love with storytelling a long time ago and never grew out of it. The format changes. The instinct behind the lens does not.
Features that play on screens around the world. Episodic television. Premium and heritage brands who want a cinematic story told the way it hasn't been told yet. Different formats, one discipline. We look for the thing underneath a brand that is genuinely worth watching, and then we build everything around it.
Crews, kit, and relationships in each of these markets. When Malbon moves into a new one, the production doesn't start over.
We didn't arrive at Malbon as an agency studying a brand from the outside. We were already in the room. Already at the tables, on the courses, at the parties, in the group chats. This community is one we belong to, and it matters to us the way it matters to everyone else who found their people through it.
What struck us first was never the clothes or the follower count. It was two words, repeated by everyone, everywhere. Pull up. Two words doing the work of a hundred. The door is open, the seat is yours, and nobody is checking whether you belong. Brands spend fortunes trying to manufacture that feeling. Malbon simply has it.
We run our house the same way, which is why we recognized yours so quickly. The same open door. The same instinct to bring people in rather than keep them out. It's the reason our crews stay for years and the reason the people we bring on rarely leave.
Shared culture is not a line on a vendor sheet. It is the difference between a company that sends you an invoice and a company that is in it with you. Two in the morning, when the shoot comes apart. The eighth stop, when everyone is running on nothing. The moment someone has to make the call without you in the room. That is the only honest test of who you hired, and we have already sat beside you, at Augusta and in Chicago.
We have to feel it before we shoot it.
If a story doesn't move us, we have no business asking it to move anyone else. So the first work is always finding the thing at the center of it that's actually true. Everything after that is craft in service of it.
And the harder discipline is knowing what not to touch. You've built something with real traction, a voice people already recognize, and momentum most brands never get near. Our job is to take it somewhere it hasn't been without sanding off the thing that got it here. Elevate the craft, raise the ambition, and leave the soul exactly where it is.
Always-on strategy, social, and content operations. The side of the house that keeps a brand alive every day instead of every campaign.
Features, episodic, documentary, and commercial work at full scale, with the crews and the relationships to actually deliver it.
Installations and activations, built and run, not just covered. We've learned the most about brands by building the rooms people meet them in.
Physical studio space for creators. Hollywood is launching now, with Miami on the roadmap and an expansion of what we already run in London.
The first move is not a shoot. It is sixty days inside the business, led by our founder with Jake on brand and creative and Michelle on partnership, so that everything made afterwards feels inevitable rather than improvised. Nobody wants to start here. This team runs fast and this industry runs faster. But the brands that find the next gear are the ones who stop, build the map, and then run it together. Everything in this document, and every number that follows it, is built on what these sixty days produce.
We move in, physically. Sessions at your offices with every person who touches the brand: leadership, social, merch, events, retail, partnerships. We go through every channel post by post and find what actually performed and why, not what everyone assumes performed. We open the vault and watch what's in it, so we know what you already own before we spend a dollar making more. And we put the full year on one wall, drops, events, store nights, partnerships, collabs, so that for the first time it all exists in a single place.
What we're really after is the unwritten part. Who unblocks what. Where decisions actually get made. Which stories nobody has told yet. And which creators in our roster could move a property fastest.
A working session per property, run with your team in the room. What it stands for. How it sees the world and how the world sees it. Who it's for, who it isn't for, and what it would never do. Buckets Cup, Home, Women, Future Buckets, Golf & Tackle, Performance, each with its own lens, all laddering back to the single Malbon.
This is where the big questions get answered, on purpose and all in one room. Everyone present, aligned, and bought in early rather than six months down the line. What comes out is an identity per property that anybody in the company can pick up and execute against with confidence.
The per-channel, always-on architecture. Cadence and pillars per property. The sequencing that turns a two-day event into a thirty-day story. The customer journey from first impression through loyalty. How the archive gets re-leveraged. Where paid picks up from organic. The measurement framework and what a good month actually looks like.
And the production strategy underneath all of it, built alongside your internal creative team: what gets shot, at what ambition, with what crew, and where the line sits between long-form and short. That is the part that makes everything after this quotable, and it is why phase two can be priced honestly instead of guessed at.
We don't email you a deck. We run a session with your team and hand over a system they can operate the week after we leave, with the measurement framework so everyone is reading the same scoreboard.
By the end you'll know exactly what we own, what you own, and where the seams are. No ambiguity, no overlap, no gaps. You're not buying a fixed output. You're buying a dedicated team and a system that flexes with the brand.
A brand producing content wholesale loses the spark that made it worth watching. Foundation is what lets you move faster while still sounding like yourself. This is the single most valuable thing this business could invest in right now, because everything after it, every shoot, every hire, every dollar, either compounds off this plan or gets spent working around the absence of one.
Momentum doesn't stop because we're building the plan. For the first ninety days, send us anything. Any shoot, any event, any store night, any property. We take the brief, build the point of view and the creative options, quote it à la carte, and once you approve it, our teams go and shoot it. You keep full control of every dollar and nothing sits waiting on a strategy that's still being written.
Two are already on the calendar and both come to you this week as their own brief, creative, and quote. Here's the point of view we'd walk in with on each.
Every property under this roof is its own world, with its own audience, its own tempo, its own reason to exist. Each one earns its own identity and its own always-on plan, and all of them ladder back to the single Malbon. This is where our thinking begins. Phase one sharpens it alongside your team.
Every property's best work rises here, and the flagship's authority elevates every property in return. The umbrella story, told in the core Malbon voice: confident, cultural, lux, community, aspirational.
Competitive tournament golf, one episode per stop. There is real money on the line and real players chasing it, which means there are real stakes, and stakes are what make people invest in someone. We build the weekly rhythm that turns a two-day event into a thirty-day story, and we build the storylines so that by the finale the audience knows who they are rooting for.
Fashion-forward, community-led, culturally aware, and built to create real FOMO. The biggest whitespace of any property and it should be resourced like it, with its own standalone strategy instead of content adapted from the men's. Course to brunch to pilates. Twenty posts a month that belong to her.
Augusta for the Masters, Pebble Beach for the US Open, every store opening after. This is where we set the standard rather than meet it. These installs have enough character and enough happening inside them to be shot like actual films, and that is the point. Everyone else in golf is following. This is the room where you get to lead, on the craft and on the way the brand talks to its community, its families, its personalities, and its athletes. Big cinematic pieces that then break into hundreds of cuts. And the same treatment for the recurring ones, the store nights and the First Thursdays, because the stores are the hubs where this brand is actually felt.
Closer to The Short Game than to an afterschool program. These kids are serious, they compete hard, and they want to be taken seriously. This tournament series may be the first time any of them get treated like professionals, and filming it that way is the whole idea. Junior athlete mini-docs, family stories, real stakes. We seed it now so 2027 arrives with an audience already invested.
A different landscape, the same eye. Slower, more textured, built for a community that lives outside the ropes, and a natural bridge to everything this brand is becoming.
Run clubs and activewear, told through the people who keep turning up. Our editors keep this lane cutting and re-engaging all year, so the community sees itself in the brand every single week.
Tennis and padel are the natural next landscape, and culturally they're enormous. Wimbledon and the French Open carry the same thing golf does: history, style, and an audience that cares how it looks as much as who wins. The way you tell those stories and who you tell them with is the whole opportunity. Every new world gets the same treatment, identity first, plan second, story always.
Short-form that punches as hard as the films. Slit-scan, the walk-into-the-next-frame technique, grid formats, good taste in music, quick cuts, a language this category hasn't used yet. The kind of thing somebody instantly shares.
In an era of infinite synthetic images, visible craft is its own advantage. The making of a drop, a collaboration, a build. Real hands, real rooms, real hours. Our crew stays invisible throughout. The story is simply that Malbon makes things, properly.
Sometimes it is the detail work: hard cuts, tight rhythm, music that lands inside the first half second. Sometimes it is the whole story, slow and cinematic. Both belong here and both are the same discipline. Image, sound, and pacing keeping someone inside a story regardless of how long it runs.
Every city we land in, every store that opens, every drop should leave people holding a single feeling: wish I was there. The stores most of all. They are the brand standing in the physical world, and they never stop handing us something worth telling.
Always-on is a cadence, not a volume. Four modes, one calendar, every account.
The live arcs around events and drops. A story that builds for two weeks, breaks on the day, and keeps paying out for a month.
Appointment viewing on a rhythm. How F1 turned race weekends into a 365-day story.
The vault, put to work. Re-cuts, throwbacks, Icons. Fuel you have already paid for.
Trend response inside guardrails, so speed never costs identity.
No account goes dark for more than 72 hours, and every property holds a weekly cadence. Every event gets a full arc, two weeks before, day-of, three to four weeks after. The archive is a working asset, not a graveyard.
Winners punch their ticket on camera, in the moment, with the reaction already rolling. The season has a plot built into it: the qualification watch, the bubble, who is safe and who is chasing. Right now nobody is telling it. This is the spine that makes every stop matter and gives the year a finale worth filming.
The same crew, every stop.
The industry norm is local pickup crews and a fresh set of faces in every city. It keeps costs down, but it means the work rarely feels like one brand. We run it the other way: the same team, at every stop, dressed like Malbon, disappearing into the event. In Chicago we looked up and it already felt like one unit. That's the integration we build toward everywhere.
What you get is a crew your members greet by name at the second stop, because they were shooting alongside them at the first, and a camera nobody performs for because nobody notices it any more.
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DDThis is the group that embeds with you. Founders and executive team, on the account, in the room. That's how we run every relationship at this level.
You'll spend real time with these people in person at the start, and then they stay. Same faces on the calls, same faces on the ground, the same people who already know the answer before you finish explaining the question. Behind them sits a larger internal team cutting and finishing, pulled in where they're needed.
We could have sent you a number this week. We would rather send you a real one.
Your calendars exist. We could have asked for every one of them, taken the historical shoot schedules, and built a spreadsheet against it by Friday. That was never the hard part.
A number isn't a function of a calendar. It's a function of strategy. What each property is actually for. The point of view per channel. Where long-form ends and short-form begins. What's genuinely always-on versus what only exists around an event. Which resources are shared across properties and which have to be dedicated. None of that is settled yet, and settling it is precisely what phase one does.
You cannot staff a team against a strategy that doesn't exist. Anyone who prices this today is guessing, and guessing is the most expensive thing in this business. It gets padded to survive the unknown, or it gets corrected later at your cost. Both are a disservice to what we're trying to build here.
So here is what we can give you today, and we think it's worth more than a number.
Structure. A point of view on every property. A clear account of exactly what we'll uncover, in what order, and what comes back to you.
Firm pricing on everything genuinely knowable. Phase one. Buckets Cup, because we've run it. And an individual brief, point of view, and quote on New York, Chambers Bay, and anything else that lands in the next ninety days, so nothing slips while we work.
And at day 30, the full commercial picture, built against a real strategy instead of an assumption.
Because what we're all building toward is larger than a content budget. It's the most in-demand brand in the category. One people don't simply follow, but insert themselves into and carry into their own lives. That doesn't come from volume. It comes from getting this part right.
Fully scoped, fixed fee. Sixty days, defined deliverables, a fixed price that does not move.
We have run one. We know the crew, the shape, and the cost. The range holds, with a stated variable only for international or hard-access locations.
Both already briefed. Both come to you as their own proposal and quote, separately, so neither waits on this document.
We can show you exactly what sits inside it, who staffs it, and how it runs. What we can't do is put a number on a volume across every property before seeing a single content calendar.
Each one is genuinely bespoke. Malbon Home at Augusta and a store night are not the same job. You send the brief, we come back with a point of view and a number, you approve it before anyone books a flight.
Phase one. Sixty days inside the business, led by our founder as facilitator with Jake on brand and creative and Michelle on partnership, supported by the wider team. Stakeholder sessions at your offices, the audit, the workshops per property, and the always-on plan the whole company runs on.
The always-on retainer. Everything below is exactly what sits inside it and who staffs it. The number gets set thirty days into phase one, against your real calendar and your real channel volumes, rather than guessed at today.
Production. Buckets Cup we can price today because we have run it. Everything else, Home, Women, Future Buckets, store nights, is genuinely bespoke and gets its own brief, point of view, and quote before anyone books a flight.
The retainer never pays for travel or on-site crew. A production fee never pays for the month. Nothing is billed twice, and nothing falls between the two.
Thirty days in, we come back with phase two. The always-on retainer priced against a real strategy, the production plan per property, the split between what sits on retainer and what gets quoted as a job, and how resources are shared across the house. By then we will have sat with your team, read every channel, and shot alongside you.
Then at day 60 we hand over the blueprint. Because this phase was never only about arriving at a number. It's about producing the plan every channel runs on, and the thing that carries Malbon from where it is now into the growth it's already headed toward. The follower milestones, the authority, the room to move into new categories, all of it comes through this.
And nothing waits in the meantime. Buckets Cup is covered. New York and Chambers Bay are quoted this week. Anything else that lands in those first ninety days gets briefed, quoted, and approved by you before it happens. You lose nothing by letting us get this right.
That is the standing engine, held separately from production. It is not a per-post fee and it is not content by the yard. It is a team and a system running an entire content operation continuously, and it is the part of this that makes a brand feel alive rather than announced. We'll price it at day 30, against what you actually run. The alternative, a freelance bench that rotates and rebuilds from scratch every quarter, costs less on paper and far more in the work.
Roughly 65 to 70 finished in-feed pieces a month, plus stories, every one publish-ready, plus the event coverage on top when we travel. These are targets from your own brief. Phase one sets the exact mix per channel, and the plan flexes from there.
Where we start. We take over Buckets Cup immediately and run it through the end of the year. The next stop, Chambers Bay, comes in at $18–22.5K depending on team, location, and ambition. It wouldn't exceed that unless we're executing something that genuinely calls for more crew or tech. From there, phase one gets us behind Future Buckets and every other property, on a plan we all agreed to.
terms follow our existing work: deposit on award, balance on delivery, net 30. phase one is fixed. every other figure here is an indicative range so you can budget, and it becomes a real number at the day 30 production 360.