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. The real opportunity is telling stories so good that people don't just admire the brand, they see themselves in it. That's what turns a following into a movement, and a season into a franchise.
We've already been in it with you. We shot with you at Augusta, and we were on the ground with you in Chicago, delivering within the hour. This isn't a cold pitch. We're not here to start a partnership. We're here to build on one.
The Making of Malbon Home was the best thing anyone in golf made last year, and it landed a month after Augusta, to a room that had already moved on. A drop gets three days. Buckets Cup goes quiet the second everyone drives out of the parking lot, and a year of footage sits on a link from a team that doesn't work there anymore.
Four calendars that don't talk, one each for merch, events, marketing, and social. Assets landing at 11pm for a 9am launch. Approvals happening in a group chat at the airport. Your team pulls it off every single time, which tells you everything about them, and it also means the whole thing lives in their heads instead of on paper.
Malbon Women has the most room to run of anything you own, and it's still being fed men's content with the crop adjusted. TikTok is barely built while Seoul and London are already wearing the brand. And the long-form died quietly, not because it wasn't good, but because nothing ever pointed anyone 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. You earn that with a real point of view, told with taste, consistency, and a little bravery. It's how a name someone's never heard becomes a brand they'd follow anywhere. It doesn't happen by accident. We map that path deliberately, from the first time someone sees you to the day they show up wearing it.
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, paddle, whatever is next, without ever losing what makes Malbon 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 telling stories a long time ago, and it doesn't change based on the format. It's in how we shoot everything.
Features that play on screens around the world. Episodic television. Premium and heritage brands who want a cinematic story told in a way nobody has told it yet. Different formats, one job. We're looking for the thing underneath a brand that's actually 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 it 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 centre 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 isn't a shoot. It's a deep dive into every property, so what we make after is inevitable, not improvised. This is the most valuable sixty days of the engagement, and the reason it comes first. Nobody wants to start here. This team runs fast, this industry runs faster. But the brands that hit the next gear are the ones who stop, build the plan, and then run together, aligned, informed, in the same direction.
We move in. Sit down with every person who touches the brand, go through every channel post by post, open the vault and actually watch what's in it, and lay the whole year's calendar out on one wall. We learn how Malbon actually works, not the org chart version. This is where we surface the ammunition: the archive, the untold stories, and the elite creators in our roster who can accelerate a property.
Every property gets an identity: what it stands for, how it sees the world, how the world sees it, how people interact with it and it with them. Buckets Cup, Home, Women, Future Buckets, each its own lens, all laddering back to the one Malbon. This is the workshop, where the plan gets its spine.
We come back with the plan. A per-channel, always-on content architecture: the cadence, the sequencing, the customer journey mapped for every property, from first impression to loyalty. Delivered as a working system your team runs, not a deck in a drawer.
The numbers here are ranges, on purpose. Once we're embedded and the strategy is dialed, we ramp a channel up or down as the plan demands. You're not buying a fixed output. You're buying a dedicated team and a system that flexes with the brand. We take over Buckets Cup immediately through year-end, then get behind every property next.
A brand that pumps out content wholesale loses the spark that made it different. Foundation is what lets you go faster and stay yourself. That is the $50K: the plan that makes everything after it work.
Momentum doesn't stop because we're building the plan. Two events are already on the calendar, and both get their own brief, their own creative, and their own quote, run through this same process so they're approved and moving while phase one is still underway. Here's the point of view we'd walk in with on each.
Every property under the umbrella is its own world, with its own audience, its own energy, its own reason to exist. So each gets its own identity and its own always-on plan, and all of them ladder back to the one Malbon. Here's where our thinking starts. Phase one sharpens it with 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 POV. Slower, textured, cinematic storytelling built for a community that lives outside the ropes, and a natural bridge to everything the brand is becoming.
Run clubs and activewear, told through the people who show up. Our full-time editors keep this lane always cutting and re-engaging, so the community sees itself in the brand every week.
Tennis and paddle 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 screenshots, sends to a friend, and asks who shot it.
In the AI era, proof of real craft is a growth engine. The making-of a drop, a collab, a build. Real hands, in the room. Our crew stays invisible, always. The story is that Malbon makes things for real.
Sometimes it's the details: hard-hitting, quick cuts, music that lands in the first half second. Sometimes it's the whole story, slow and cinematic. Both belong, and both are the same job. The visual, the sound, the pacing, they keep people inside the story no matter the length.
Every city we land in, every store that opens, every drop, it should leave people with one feeling: wish I was there. The stores especially, they're hubs in the real world, and they never stop giving us something to tell.
Always-on doesn't mean more. It means continuous. 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, working. Re-cuts, throwbacks, Icons. Fuel that's 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 source, not a graveyard.
Winners punch their ticket on camera, in the moment, with the reaction we were already rolling on. The season already has a plot, qualification watch, bubble storylines, who's in and who's chasing. Right now nobody's telling it. This is the spine that makes every stop matter, and gives the season a finale worth filming.
The same crew, every stop.
Most agencies protect margin with local pickup crews, new faces at every city. It's why footage ends up on orphaned links and the work never feels like the 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 say hello to by name at the second stop, because they shot with them at the first, and a camera nobody performs for because nobody notices it anymore.
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SMThis 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.
Every number below is a starting range, dialed in during phase one. You're buying a system that flexes with the brand, not a fixed output.
The monthly retainer. The always-on machine that keeps all four channels alive 365 days a year, whether or not there's an event. The dedicated team, all editing and post, the planned shoots between events, the programming, the strategy, the measurement. This is what makes the brand continuous.
Event coverage, billed per stop. Flights, expanded on-site crew, gear, the within-the-hour delivery. This only exists when we go somewhere with you. The tour runs roughly eight stops across Q3 and Q4. It is not a weekly cost.
The retainer never pays for travel or on-site crew. An event fee never pays for the month. Nothing is charged twice, and nothing falls between.
The retainer runs $540K a year. That is the standing cost of the engine, and it is separate from the road. It is not a per-post fee. It is a team and a system that runs the entire content operation across four properties, continuously. The alternative, freelancers who rotate and rebuild from scratch, 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, retainer net 30. every number here is a floor to build from, phase one sets the real shape.