How Lifely turned home tours into a content series people actually watch
Short answer: Day in the Lifely is a recurring home-tour series Melbourne Social Co created for Australian furniture brand Lifely. Each episode follows an influencer through their own home, styled somewhere between Architectural Digest and Instagram. The homes are filled with Lifely furniture before the shoot, and the influencer lives with it first, so by the time the camera rolls they're showing off a home they actually use, not a set. It works because it's a show people want to watch, with the product as part of the story rather than the point of it.
Furniture is a hard thing to sell on social. Nobody wants to watch a sofa sit still. Product shots on white backgrounds are useful on a website, but in a feed they're wallpaper. Lifely's challenge was the same one most product brands have: how do you make people care about the thing before they're ready to buy it?
What is Day in the Lifely?
It's a hero video series built around a simple, repeatable format. An influencer welcomes us into their home and walks us through it: the rooms they love, how they actually live in the space, the bits that make it theirs.
The look borrows from the celebrity home tours people already binge, then brings it down to the scale of a real Australian home. It's polished enough to feel aspirational, but personal enough to feel like you've been invited over.
And the Lifely furniture isn't staged on the day. It goes in beforehand, and the influencer lives with it. When they talk about their sofa or their dining table, they're talking about something they've sat on, spilled on and had friends over around.
Why do home tours work as branded content?
People already love them. Home tours are one of the most rewatched formats on social. We didn't have to teach the audience a new format; we just had to make a great version of one they already enjoy.
The product is in its natural habitat. Furniture makes sense in a home, with light coming in and someone's life around it. A tour shows scale, texture and how pieces work together far better than a product page can.
Real use reads as real. Because the influencer lives with the furniture before filming, their reactions and stories come from experience. Audiences can tell the difference between someone reading product features and someone who genuinely likes their couch.
It borrows trust. The audience comes for the person and their home. The brand gets to be part of something people chose to watch.
What makes an episodic content series work for brands?
A one-off video has to win attention from scratch every time. A series builds it up. Here's what we've learnt from building series like Day in the Lifely:
1. A format you can explain in one line. "An influencer tours their home, filled with Lifely furniture." If the idea needs a paragraph, it's hard to repeat.
2. The same bones, a different story each time. The structure stays put (the intro, the walk-through, the favourite room) while the person, the home and the style change. That's what makes people come back for the next one.
3. A name people can remember. A series title gives the content an identity beyond "another brand post", and gives the audience something to look for.
4. The product earns its place in the story. If you'd cut the brand out and the video would still be good, you're on the right track. If the video only works as an ad, it'll be watched like one.
5. One shoot, many pieces. A hero episode can feed weeks of social: room-by-room cut-downs, styling tips, behind-the-scenes clips, quotes from the host and paid social variations with different hooks.
6. Real people, real homes. The series works because it isn't a set. The more of the real person's life comes through, the better it lands.
Can this approach work outside furniture?
Yes. The format changes but the thinking holds. A skincare brand could follow real routines. A food brand could visit real kitchens. A hospitality brand could hand a creator the keys for the weekend. The questions are the same: what format does your audience already love, and how does your product genuinely fit into it?
What's next for branded content series?
As AI makes it easier to produce polished content at volume, the things a machine can't make (real people, real homes, real opinions) are going to stand out more. It's one of the five shifts in our 2027 outlook report, The Real Thing: Social in 2027.
Download The Real Thing: Social in 2027 →
FAQs
Who created Day in the Lifely?
Day in the Lifely was created by Melbourne Social Co for Lifely, an Australian direct-to-consumer furniture brand.
What makes a good furniture brand social media strategy?
Show the product being lived with. Home tours, styling content, real customer homes and recurring series tend to outperform static product shots, because people buy furniture by imagining it in their own space.
What is an episodic content series?
It's a set of videos that share a format, title and structure, released over time. Like a show, each episode stands on its own, but the familiar format gives people a reason to come back.
Do influencer home tours need to be paid partnerships?
If the influencer is paid or gifted product, yes, it needs to be disclosed clearly under Australian advertising rules. Transparency doesn't hurt good content; audiences are used to it.
How long does it take to produce a branded content series?
It depends on the format, talent and number of episodes. For a home-tour series, allow time for the product to be installed and lived with before the shoot, as that's what makes the content feel real.
Melbourne Social Co is an Australia-wide social-first creative agency, making content for brands since 2011. Talk to us about building a series for your brand.
What is social-first content, and why does it outperform repurposed ads?
Short answer: Social-first content is made for social media from the very first conversation. It's planned, shot and edited for how people actually use their phones: vertical, fast, sound-on, with real people front and centre. Repurposed ads start life as something else (a TV commercial, a print campaign, a website banner) and get cut down for the feed later. Social-first content usually wins because it looks like it belongs there, so people stop scrolling instead of skipping.
We've been a social-first creative agency since 2011, so I'll admit some bias here. But the reason we built the business this way is that we kept watching the same thing happen.
What's the difference between social-first and repurposed content?
Picture two shoot days for the same product launch.
On the first, the crew shoots a beautiful 30-second hero film. Wide shots, a voiceover, a big music track. Afterwards, someone takes the master and cuts it into a 9:16, a 4:5 and a 15-second version for social. The framing doesn't quite work vertically, the hook takes six seconds to arrive and the voiceover doesn't land with the sound off.
On the second, the brief starts with the feed. The first two seconds are planned before anything else. The talent talks to camera like they would to a friend. There's a behind-the-scenes clip, a team member's take, a quick "three things I didn't know about this product" and a reaction from a real customer, all captured in the same day.
Same budget, same product. The second day gives you more content, and content that actually fits where it's going to live.
Why does social-first content perform better?
It's built for the first second. On a phone, you're competing with someone's best friend, their favourite creator and the news, all in the same thumb-flick. Social-first content is designed around the hook, not the brand reveal at the end.
It looks native. People have learnt to spot an ad from the first frame. Content that looks and sounds like the rest of their feed gets a fairer hearing.
It gives paid social more to work with. Meta's ad system now uses the creative itself to work out who to show it to, so variety matters. One hero film cut five ways is still one idea. A social-first shoot gives you several genuinely different ideas (we cover this in more detail in Why is creative the biggest lever in Meta ads now?).
People want to see people. In Canva and The Harris Poll's State of Marketing and AI 2026 study, 78% of consumers across seven countries said they'd rather see ads made by people, even if AI could make better ones. Social-first content puts humans in the frame by default.
UGC vs produced content: which is better?
It's not either-or, and treating it that way is where a lot of brands go wrong.
UGC (user-generated content) and creator content feel personal and trustworthy, and they're quick to make. The trade-off is consistency: quality varies, and it can drift away from the brand.
Produced content gives you control over the look, the message and the product shots. The trade-off is that it can feel too polished for the feed if it isn't made with social in mind.
The sweet spot is produced content that's directed to feel real. Lo-fi doesn't mean low effort. It means real people, natural delivery and a crew that knows when to step back. Across our shoots, the lo-fi content we grab on the day regularly beats the polished hero asset. So now we plan for it: every shoot day has time set aside for the unplanned moments.
What does social-first content look like in practice?
- Recurring series with a familiar format, so audiences know what they're getting and come back for the next one (see how we did this with Day in the Lifely).
- Talking-to-camera content from founders, team members and experts who know the product inside out.
- Behind-the-scenes clips captured on the same day as the main shoot.
- Creator and customer content that shows the product in a real home, on a real commute or in a real routine.
- Paid social variations built from the same shoot, each with a different hook, person or angle.
How do you brief social-first content?
Start with the platform and the person, not the product.
- Where will this live, and what's already working in that feed?
- Who's watching, and what would make them stop?
- Who's the human face of this content?
- What are the first two seconds?
- What else can we capture on the day so one shoot fills a month of content?
If the brief opens with a 30-second script and a list of required logo placements, it's probably a TV brief wearing a social hat.
Where is this heading in 2027?
Making content has never been cheaper or faster. That's exactly why content with real people in it is about to be worth more. In our 2027 outlook report, we call this "Real becomes a premium format", and it's one of five shifts we think will shape social next year.
Download The Real Thing: Social in 2027 →
FAQs
What does social-first mean?
Social-first means social media is the starting point for the idea, the shoot and the edit, rather than an afterthought once other channels are done.
What is a social-first creative agency?
It's an agency that plans, produces and often runs content specifically for social platforms. Melbourne Social Co is a social-first creative agency working with brands across Australia.
Can I still use my TV commercial on social?
Yes, but expect it to work harder for less. If you can, capture social-first content on the same shoot day (vertical, talking to camera, behind the scenes) so you're not relying on cut-downs alone.
Is UGC better than produced content?
Neither is better across the board. UGC and creator content build trust quickly; produced content gives you control. Most brands do best with a mix, with produced content directed to feel natural.
Does social-first content have to be lo-fi?
No. It has to suit the feed. Some social-first content is beautifully shot. What matters is that it's vertical, hooks fast and puts real people at the centre.
Melbourne Social Co is an Australia-wide social-first creative agency, making content for brands since 2011. See our work and get in touch.
Why is creative the biggest lever in Meta ads now?
Short answer: Meta's Advantage+ system now makes most of the decisions advertisers used to make by hand: who sees the ad, where it runs and how much to bid. The one input it can't invent for you is a good idea, told well. That's why creative is now the biggest lever in Meta ads, and why the brands winning on Meta in 2027 will be the ones feeding the system better creative, not fiddling with audiences.
We've been saying "creative, not targeting" to clients for years. For a long time it was our opinion. Now it's just how the platform works.
What changed in Meta advertising?
A few years ago, running Meta ads well meant building audiences. Interest stacks, lookalikes at 1%, 3% and 5%, exclusions on exclusions. A good media buyer could find your customer before anyone else did, and that was the advantage.
Meta has been steadily automating that work. Advantage+ campaigns now handle audiences, placements and bidding, and Meta's newer AI delivery system reads signals from the ad itself to decide who should see it. Broad targeting with strong creative now regularly matches or beats tightly built audiences.
The scale of the shift is hard to ignore. On its Q2 2026 earnings call, Meta reported that Advantage+ had passed a US$75 billion annual revenue run-rate, and that 9 million small businesses were using at least one of its AI ad creative tools (up from 4 million advertisers at the end of 2024).
So when every advertiser has access to the same machine, the machine stops being the advantage. What you put into it is.
What does "creative is the new targeting" mean?
It means your ad tells Meta who it's for. The hook, the person on screen, the problem you open with and the way you talk all act as signals. Make an ad built around a new mum's 6am chaos and the system finds new mums. Make one about a tradie's ute and it goes looking for tradies.
That changes what "testing" means, too. Swapping a blue button for a red one, or changing the first three words of a caption, barely registers as new creative anymore. The system treats it as the same ad. What it does respond to is a genuinely different idea: a different person, a different problem, a different reason to care.
How do you improve Meta ad performance in 2027?
Here's what we do across the paid social accounts we run at Melbourne Social Co.
1. Write the brief before you make the ad. Who is it for, what's the one thing they should feel, and what's the proof? If you can't answer those in a sentence each, no amount of budget will save the ad.
2. Test ideas, not tweaks. From every brief, make at least two concepts that are properly different from each other (not two edits of the same video). Let the results pick the winner, then make more like it.
3. Feed the system real inputs. AI creative tools can resize, re-cut and write variations all day. What they can't do is invent footage of a real person using your real product, or your team explaining something only they know. Thin inputs become thin ads, just at scale.
4. Keep a steady flow of fresh creative. Ads tire faster than they used to. If frequency is climbing and click-through is sliding, you usually don't need a new audience. You need a new angle.
5. Make it for the feed first. Vertical, sound-on, with a hook in the first second or two. Creative that looks like a TV ad squeezed onto a phone tends to get scrolled past (more on that in our post on social-first content).
Does targeting still matter at all?
A little. Clean conversion tracking matters a lot, because it's how the system learns what a good result looks like. Retargeting, exclusions for existing customers and some tightly controlled tests still have their place. But the hours most teams used to spend building audiences are now better spent on concepts, scripts and shoot days.
What does this mean if you're choosing a paid social agency in Australia?
Ask where their effort goes. If the pitch is mostly about audience strategy and bidding, that's the part Meta is automating. The agencies worth hiring in 2027 can make the creative as well as run it, and can turn out a steady stream of genuinely different concepts without your budget disappearing into production.
That's the model we've built at Melbourne Social Co since 2011: social-first creative and paid social under one roof, for brands right across Australia. The people writing the brief are the people on set and the people reading the results.
Want the bigger picture for 2027?
"The AI makes the ad. You make the brief" is the first of five shifts in The Real Thing: Social in 2027, our free outlook report with ATTN.CTRL. It covers the data behind each shift and what we'd do about it.
Download The Real Thing: Social in 2027 →
FAQs
What is Meta Advantage+?
Advantage+ is Meta's suite of automated ad tools. It uses AI to decide audiences, placements, budgets and, increasingly, creative variations, so advertisers set the goal and supply the assets.
Is creative really more important than targeting on Meta?
For most brands, yes. With Advantage+ handling delivery, the content of your ad is one of the strongest signals Meta uses to find the right people, so better and more varied creative usually beats tighter audiences.
How many ads should I be running on Meta?
There's no magic number, but you want enough genuinely different concepts that the system has real choices. For most of our clients that means new concepts every few weeks rather than one hero ad a quarter.
Can I just use Meta's AI to make my ads?
You can use it to resize, re-cut and write variations, and you should. But the AI works with what you give it. Real people, real product footage and a clear idea still have to come from you.
How much should I spend on creative vs media?
It depends on budget and category, but most brands underspend on creative. If your ads are tiring before you can replace them, that's a sign to shift more budget into making new concepts.
Melbourne Social Co is an Australia-wide social-first creative agency, making content for paid social for brands since 2011. Talk to us about your content for Meta ads.