A creative workflow that couldn’t keep up
Underoutfit launched in 2021 and has become one of the fastest-growing D2C brands on Shopify. The brand specializes in women’s intimate apparel and was built by industry veterans with 25+ years of experience designing for Victoria’s Secret, Nike, and Lululemon. Their marketing team operates out of Israel, while their core customer base sits in the U.S., a gap that quietly shaped their entire creative workflow.
Creative production has always been one of the slowest and most expensive parts of running a D2C brand; for Underoutfit’s lean marketing team, constraints stacked up faster than they could solve them.
Photoshoots are expensive and slow. Photographers, lighting, models, makeup, and location costs add up quickly. Every campaign refresh meant another production window of days or weeks before assets were ready to ship.
The right models and more diverse creative
Sourcing the right talent isn’t always possible. Brands often need models, settings, or scenarios that simply aren’t accessible. For Underoutfit’s Israel-based marketing team, that meant sourcing plus-size models who better represented the brand’s U.S. customers.
Freelance and agency cycles slowed everything down. Briefing, waiting, revising, and sending every asset back and forth through one designer made it nearly impossible to keep creative in lockstep with strategy.
For Felix Leshno, Co-Founder and CXO of Underoutfit, Meta’s Andromeda update changed the rules. The new algorithm rewards diversity of concept per persona, not 50 variations of the same ad. Producing 8 to 12 distinct concepts per persona quickly wasn’t realistic with their legacy creative workflow.
"In Israel, there are no models beyond medium size. Our audience in the U.S. is large and above. Until now, no AI tool gave us the option, because it's bras and underwear. When you tell a model, 'make me a bigger model,' it can't. Moby is the only one."
Moby’s creative generation cleared the bar
Underoutfit tested several generative AI tools, but none could reproduce their actual products on a real-looking model. Bras and underwear are unusually hard to generate. Cut, fit, fabric, and proportion have to match the SKU on the website, not an incorrect approximation.
Moby’s creative generation cleared that bar.
"It uses our real product. This is from the website. She really wears the real product. I don't know how it does it. It's crazy. Nobody can tell it's AI."
Felix’s evaluation criteria came down to three things: 1) would the model render as a real customer, 2) would the product look like the actual SKU, and 3) could the team move the idea to a published ad without leaving Triple Whale. Moby covered all three for the team’s ad workflow. With their brand, product, and customer context available in Moby, the team didn’t have to keep re-explaining who they were every time they generated an asset.
Creative work across paid media, retention, and CRO
From there, the work expanded across Underoutfit teams. The paid media team runs persona-led concepts for Meta and Google. The retention team generates email and SMS creative. The CRO team is rebuilding product pages, FAQs, and on-site imagery against Moby’s recommendations. Ad creative work happens inside Triple Whale, and the team can publish approved ads directly to Meta from Moby.
Persona-led creative for the Andromeda era
Underoutfit rebuilt its creative process around concept diversity per persona, not volume of near-identical variations. The paid media team defines a persona (nurses, working moms, mothers), tells Moby the format (side-by-side, pain/solution, carousel), and Moby returns 8 to 12 diverse concepts featuring real Underoutfit products, headlines, and ad copy.
"Variations don't work anymore, specifically with Andromeda. What's important is diversity. We work in personas now, and diversity within a persona. You explain the persona to Moby, 'Mother at 38,' and it creates different images. We can put the same ad in the same format, and it takes 15 minutes. This is insane."
Canceling photoshoots without losing the look
Underoutfit canceled two photoshoot days after Moby’s image quality crossed the threshold where AI imagery was indistinguishable from studio photography.
The bigger unlock: Moby can take the team’s existing product photography and re-cast the model at a larger size while keeping the bra intact. That solved a problem the team had spent years working around. Canceling photoshoots allowed Underoutfit to recover production costs and avoid another production window.
“We canceled two photoshoot days already. We probably aren’t going to have photoshoots anymore. That’s it.”
Underoutfit has gone almost a year without its former large-scale photoshoots. The team still starts with product photography, but a phone image taken in the office — even on a mannequin — can become the starting point for new model imagery created with Moby.
Reworking product pages and FAQs for a 5% CVR uplift
The onsite work has scaled beyond hero imagery. The CRO team is now reworking every product page based on Moby recommendations, including content, FAQ flow, and model imagery. Since rolling out those changes, Underoutfit has seen a 5% CVR uplift across the site.
The unlock that supported that work was consistency. Reproducing the same model across multiple product pages and campaign assets had been difficult to coordinate with photoshoots and unreliable with the generic AI tools the team tried.
Moby learned to reproduce the same model repeatedly for Underoutfit, so the brand can have persona-aligned imagery without breaking visual continuity across the customer journey.
Dynamic landing pages and on-site imagery
As Underoutfit created more diverse ads, the team needed landing pages that carried the same idea through to the on-site experience. Felix now gives Moby an ad that works well and asks for a page built around the same angle, or starts with an angle and asks for both the ads and the page. With the brand’s fonts, colors, and logo supplied, the team can focus on reviewing the content and refining the page before approving publication.
The team tests the same ads against a normal product page and a matching landing page. Felix said the landing page wins most of those comparisons. When it doesn’t, the team can adjust the page or the ads and test again, making the creative process more flexible across the funnel.
That flexibility extends to the imagery shoppers see when they arrive. The CRO team is testing dynamic landing pages that show different model imagery based on the persona coming from the ad. In one early test, swapping a younger model for one ten years older produced a reported 24% conversion lift among new visitors.
The work has also expanded beyond campaign landing pages. Underoutfit’s homepage hero is now a Moby-generated image, and Moby proactively suggested a new banner highlighting the co-founders’ 25 years of industry expertise, which was part of the brand’s story the team hadn’t been featuring.
Results: More room to create, test, and act
- Underoutfit reported a 5% CVR uplift after updating product-page content, FAQs, and imagery
- Two canceled photoshoot days saved more than $30K in production costs
- The paid media team can develop 8 to 12 distinct creative concepts per persona in about 15 minutes
“It’s not even time savings. It’s a completely new work process. We never had this much flexibility to create so many creatives, or even play with concepts visually, before. Each person on the team plays with it themselves. It also brings ideas. It’s ideation, because it creates something you didn’t think about. It’s a much more creative layer to the way we work.”
The bigger shift is structural. Every team that touches creative now has a creative tool. The retention team isn’t waiting on a freelance designer for email assets. The CRO team isn’t waiting on photography for landing pages. The paid media team can explore new concepts and build matching landing pages without sending every idea through another production cycle.
For Felix, that flexibility helps Underoutfit keep its marketing team small while giving each person more room to act. The team still reviews the work and makes the decisions, but more ideas can move from concept to test without adding another designer or organizing another shoot.
“It’s the most efficient team member we have.”
