Alejandro Sitt — Growth, brand and creative direction

Q: Are you looking for a job or for clients?

Both. I take senior in-house roles and I take fractional clients. Which one fits depends on whether you need someone owning the number every day or someone setting the direction and making sure it ships.

Q: What does it cost?

It depends on the finding, which is why I do not publish a number. The shape is a one-time sprint, an ongoing part-time engagement, or full ownership of the function. We agree the metric before we agree the scope, and there is a short trial period.

The short version

$20K → $60K

Monthly revenue over 8 months at La Merchería, where I owned brand, creative and content.

$10K → $30K

Monthly revenue in 3 months at a US practice, with peaks of $40–50K after.

120K → 230K

YouTube subscribers. Independently verifiable on SocialBlade.

5K → 20K

Instagram followers over the same period.

20+

Audiovisual productions shipped. Produced, scripted, performed.

Cold → closed

Both podcast partnerships I picked and over-invested in: Lewis Howes, Digital Social Hour.

Who I am

I am a creative operator who runs the commercial side.

10+ years in marketing, sales and growth, and 12 running my own audiovisual production company. I have sat in both seats, which is why I can usually tell you whether a brand problem is actually a brand problem or a distribution problem wearing a brand problem's clothes.

Execution is abundant now. Judgment is the scarce part. AI cannot tell you which audience a message lands with, or which of two good options builds the brand rather than just the quarter. That is what I am actually selling.

What that means in practice

Growth strategy

Positioning, offer, funnel design and the targeting logic underneath them. Who we go after, why now, and what has to be true for it to work.

Brand and creative direction

Message, content systems and production that actually ships. I have run the camera side, so I scope work that can be made on the budget it has.

Revenue systems

I design the funnel and CRM architecture, direct the people who build it, and make sure it ships. I sell the system and its execution, not hours in a tool.

Who this is for

You just raised.

The pressure to grow is on and a full-time CMO is not in the budget yet.

Great product, quiet brand.

What you built is strong. The brand simply does not show it.

Clean RevOps, no story on top.

The machine runs. There is no strategy or content feeding it.

Technical founder, no commercial instinct.

You know the answer is marketing. You do not know which marketing.

Cases

What the problem actually was, and the call I made.

Jerry Wise Relationship Systems

Sales & Marketing Strategist · Aug 2024 – Sep 2025 · Remote, US client

$10K → $30K

Monthly revenue, 3 months

$40–50K

Peak months that followed

120K → 230K

YouTube subscribers

5K → 20K

Instagram followers

The situation

Jerry is a family systems therapist with 45 years of practice and a real audience already watching him. The business was flat at around $10K a month. The demand existed. Nothing downstream of it worked.

What was actually hard

The obvious read was "we need more leads." That read was wrong, and acting on it would have burned the quarter. Leads were arriving and dying quietly, with nothing in place to show where, and no shared definition of who was even a fit.

The harder problem was the second one: deep credibility, almost no distribution outside his own channel. Invisible to every audience that was not already his.

The calls I made

Fix the leak before adding volume. Stop buying attention and rebuild what happens after it arrives. Real lifecycle stages in HubSpot, a shared definition of a qualified lead, and follow-up as a defined sequence rather than a habit. Unpopular at the time, because it looks like nothing is happening for six weeks.
Borrow distribution instead of renting it. Rather than putting budget into ads, I set the strategy on partnerships: go where the audience already is, tier the targets, and concentrate effort on the few shows that could actually move the business instead of spreading it evenly across hundreds.
Pick the right two. I sourced and booked the full run of shows he appeared on. The two I chose to over-invest in were Lewis Howes and Digital Social Hour. Both closed. That selection was the judgment call, and it is the part that would not have happened on its own.

What changed

Revenue went from $10K to $30K a month in three months, later peaking at $40–50K. The biggest contributor was not a clever campaign. It was that the business stopped losing the demand it already had. Jerry flew to LA for the Lewis Howes recording. The collaboration clips did millions of views and became the best performing videos the business had produced in over a decade.

Proof, public and checkable

La Merchería (Vía Cotone)

Marketing Director / VP Marketing · Aug 2025 – Jun 2026 · Buenos Aires

$20K → $60K

Monthly revenue, 8 months

20+

Audiovisual productions shipped

Budweiser · Pepsi · Unilever

Brands we pitched creative into

The situation

La Merchería is the online, self-serve arm of Vía Cotone, one of the largest corporate merchandising operations in Argentina: ISO 9001 certified, its own warehouse and delivery fleet, roughly eighty people, decades of B2B relationships. A serious operation launching a digital product that had to build a brand from zero and sell to a completely different buyer.

What was actually hard

Two audiences inside one company. The parent sells through relationships and consultative quoting. The digital product sells to someone who wants their logo on a hoodie at eleven at night without talking to anyone. Different brand, different content, different funnel, built without either one contradicting the other.

And the pitch side is not a merchandising quote, it is an idea. Activations and campaigns where the merch is the vehicle. That means competing on creative against agencies, into a decision no single person makes alone: brand manager, marketing director, procurement, legal, sometimes a regional office that was never in any of your meetings.

The calls I made

Sell the idea, not the catalogue. I aligned creative direction to the commercial pitch, so we walked in with activation and campaign concepts built for that brand's actual situation, with the merchandising as the vehicle. That moves the conversation off price per unit and onto what the campaign is worth.
Target on triggers, not on logos. With no intent data to buy, I set the signal criteria from public behaviour. The highest value trigger was a personnel change in the client's marketing org, because a new brand manager resets the vendor slate. Free to monitor, and it beat every list we could have bought.
Three tiers, and multi-thread before the pitch. Tier 1 got fully custom speculative creative; tiers 2 and 3 got sequenced nurture, which is what made the custom work affordable at all. Then ask the champion who else has to say yes and what each of them is measured on, and arm them for the meeting you will not be in.
Rebuild how the work gets made. AI-native production workflow across the creative team. That is what let a small group ship 20+ productions in the same period the business was tripling.

What was mine and what was not

Monthly revenue went from $20K to $60K over eight months. I owned brand, creative direction and content, and contributed to the product and sales sides. I did not own the paid budget, and I am not claiming that curve as mine alone. On the pitch side, I led creative teams on pitches and campaigns for Budweiser, Pepsi and Unilever. I am not claiming I owned those accounts. Contract values sat with the group's commercial leadership and I am not going to quote figures I cannot source.

Recognise your own company in either of those?

Then you already know what the first conversation would be about. Twenty minutes, no deck, and you leave with a read on your situation whether or not we work together.

Book 20 minutes WhatsApp

How I work

The deliverable before any deliverable is the diagnosis.

I do not lead with a service menu. I map what is already there, find the one thing nobody owns, and scope against that. It is the reason I do not send a price before I send a finding. Three recent diagnoses below, names withheld.

01The company that was renting attention

AI video production platform · pre-seed · ~30 people

The obvious read They needed more marketing, and a job description to hang it on.

What I found They were excellent at renting attention and nobody owned the machine that converts it. A company selling the fastest long-form video production had no flagship channel made with its own product, so the strongest proof of the product did not exist. Customer results sat stranded in reviews and support threads. The enterprise product had no commercial motion at all. Underneath all three: the funnel only converted people who already knew the founder.

What I proposed Nine defined work streams, a non-overlap table mapping who owns what across me and their incoming Head of Growth, a 90-day plan, and three engagement formats so budget would not be the reason to say no.

02The founder whose revenue ceiling was his own calendar

Executive coaching practice · solo operator · nine-year-old audience

The question 6,500+ newsletter subscribers across 20+ countries, 3,000+ one-to-one conversations, a podcast and a diagnostic quiz feeding all of it. He asked how much he could bill in six months.

What I found Nobody could know yet, because the inputs did not exist. So I sent the model instead of the number, with the four data points that turn it into a real figure rather than a hunch. The real finding was structural: the base had never been segmented, so it had never actually been an asset, and every revenue path he had ran through his own calendar.

What I proposed A 30-day audit priced on its own, with a second stage he decides only after the first is delivered. I also pushed back on reviewing all 3,000+ conversations. It did not fit the agreed hours and a well-chosen sample produces an equally real number. Saying no to scope I cannot deliver is part of the work.

03The startup where the obvious pitch was the wrong one

Seed-funded consumer streaming app · ~28 people

The obvious read My background is production and content, so pitch producing content.

What I found Before writing anything I mapped the entire team on LinkedIn, function by function. Production and content were saturated at the top: multiple heads, a showrunner, staff writers. Product and growth were covered by operators from major tech companies. What did not exist was senior marketing. Pitching production would have put me fourth in line for a seat that was already full.

What I proposed Growth & Brand Creative Lead, defined as the creative counterpart to user acquisition. That reframe killed the pitch I would have written on instinct.

Selected work

I know what it costs to make the work.

Most people who can run the commercial side have never made the work, and it shows in what they ask for. I have been producing since 2014, which is why I scope creative against what can actually be shot on the budget that exists.

Merchaholicos Anónimos

Brand mini-series for La Merchería · vertical, seven episodes · 2025–26

400

People auditioned

Actors cast

Episodes shipped

End to end

Concept, casting, production, post

A support group for people addicted to corporate merch. The format is a mockumentary, which is the opposite of how this category usually advertises itself, and that was the point: a merchandising company cannot win attention by showing you the product catalogue in a nicer font.

I ran it from the concept through casting, shooting and post. Four hundred people auditioned, five were cast. Built vertical from the first frame, for the feed, not cut down from a horizontal edit afterwards.

Ep 01

Ep 02

Ep 03

Ep 04

Ep 05

Ep 06

Ep 07

Backstage

Click to play with sound. Scroll sideways for the rest, including the backstage cut.

Short-form content

Organic social for La Merchería · script to distribution · 2025–26

Deliberately rougher than the mini-series. Handheld, fast cuts, built to move in the feed rather than to look expensive. The objective was brand awareness, and awareness is what fed the rest: organic reach, brand partnerships and, downstream, sales.

Script, production, edit, distribution and calendar were all mine. I do not shoot this myself anymore, and that is the point of showing it. Having made it is why I know what good looks like in this format, why I stay current on what is actually working, and why I can hire the right talent and point them at a growth or sales number instead of at views.

Bresh

Guita

History of merch

Metallica merch

Freelance

Romario

Click to play with sound. Scroll sideways for the rest.

Bacement Productions

Music videos · written, composed, produced and directed end to end

4 in 4 days

Videos shot on consecutive days

30–50

People mobilised per production

6 songs

Written, produced and recorded in 3 weeks

Four music videos shot on four consecutive days, with thirty to fifty people mobilised across them. Script, composition, production and direction were mine end to end, with contracted collaborators on camera, edit and post. Six songs written, produced and recorded in three weeks to feed it.

Every piece was cut and branded for content across all platforms, and I ran the distribution and the paid spend behind it. The budget was small. That constraint is most of the reason I scope creative work the way I do now.

Caramel

Written, composed, produced, directed

Halo

Written, composed, produced, directed

Alone

Written, composed, produced, directed

Sad Man

Written, composed, produced, directed

Silent excerpts. Hover to play.

On set

A string quartet carried out to a ruin in the countryside, a theatre booked and rigged with dancers on stage, a set built out of debris and practical candles, a gimbal operator working a location with no power, and thirty to fifty people fed on each of them. This is what the finished cut does not show, and it is the part that decides whether the idea was scopeable in the first place.

String quartet playing in a disused building in the countryside — Caramel · string quartet on location

Set built from debris lit with practical candles — Caramel · set build, practical candles

Crew rigging lights from a ladder in a theatre — Alone · rigging lights, theatre

Gimbal operator and crew on location — Caramel · gimbal, crew on location

Camera on a tripod shooting on a Buenos Aires street — Alone · street shoot, Buenos Aires

Playback take with the quartet — Caramel · playback take

Behind the scenes. Click to open full size.

Alone · dancers on stage

Alone · blocking a scene, theatre

Recording vocals on location

Feeding the crew

Phone footage from the shoots. Hover to play.

Distribution, not just production

Partnerships sourced and closed cold

Before you ask

The questions I get first.

What actually happens on the first call?

Twenty minutes, no deck. You tell me what is not working, I ask the questions I would ask if I already worked there, and I tell you what I think the real constraint is. If my read is useful and you want to run it yourself, run it. I do not quote anything on that call.

How fast can you start?

Within a week for advisory work, because there is nothing to unwind. For a full-time role, whatever notice the situation needs.

Are you looking for a job or for clients?

Both, and I am not going to pretend otherwise. I take senior in-house roles and I take fractional clients. Which one fits depends on whether you need someone owning the number every day or someone setting the direction and making sure it ships. That is usually clear inside one conversation.

Do you work with companies outside your time zone?

That is most of my work. Six years remote across US, EMEA and LATAM hours. Buenos Aires is GMT-3, which overlaps a full working day with the US East Coast and a European morning.

What does it cost?

Depends on the finding, which is why I do not publish a number. What I can tell you is the shape: a one-time sprint, an ongoing part-time engagement, or full ownership of the function. We agree the metric before we agree the scope, and there is a short trial period so neither of us is locked into a guess.

Why are the case studies so specific about what was not yours?

Because anyone senior discounts a number that sounds too clean. Separating what I owned from what I contributed to is the only way the numbers that are entirely mine stay believable.

I turn creative
into revenue.

Who I am

What that means in practice

Who this is for

What the problem actually was, and the call I made.

Jerry Wise Relationship Systems

The situation

What was actually hard

The calls I made

What changed

Proof, public and checkable

La Merchería (Vía Cotone)

The situation

What was actually hard

The calls I made

What was mine and what was not

The deliverable before any deliverable is the diagnosis.

I know what it costs to make the work.

Merchaholicos Anónimos

Short-form content

Bacement Productions

On set

Distribution, not just production

Three ways in. All of them start with a finding.

Also open to

The questions I get first.

I show up to the first meeting with a finding, not a menu.