UGC for Food and Drink Brands UK

Key takeaways

Taste does not travel through a screen, so every good food video is built around a substitute: steam, a pour, a pull apart, a crunch, or a genuine first bite.
Sound carries more of the selling in food than in any other category. Record the real sound close to the product and keep it clear of music at the key moments.
Perishable stock shortens the shoot window, so the dispatch day, the quantity and the serve are planned before anything is posted.
Since 5 January 2026, paid online adverts for "less healthy" food and drink are banned in the UK, with exemptions for smaller businesses and for your own channels. Check your product before you put money behind a video.
Health claims, allergen wording and alcohol each have their own rules, and words spoken by a creator you paid count as your advertising.
Our food and drink packages start from £160 a video, with 12 months of advert rights from Standard upwards.

How do food and drink brands use UGC?

UGC for food and drink brands is short vertical video that shows a product being made, poured, opened and eaten by a real person in a real kitchen, cafe or garden. It has become the way people discover food on social media because it does the one thing packaging and still photography struggle to do: it makes a stranger hungry. A photograph shows what the product looks like. A well made 20 second video can make a viewer's mouth water on a train, and that response is about the most direct path from content to basket there is.

The audience is already there. DataReportal counts 55.5 million social media user identities in the UK, around 79.7 percent of the population, and Ofcom's Online Nation research finds that UK adults now spend an average of four and a half hours online a day. Everyone eats and everyone scrolls, so the demand for food video is not in question. The question is whether your videos trigger appetite or simply show stock sitting on a table.

The catch, and the thread running through this whole guide, is that the format works around a hard limit. You are selling taste, and taste does not pass through a screen. Every technique in food video, the sizzle, the steam, the pour, the pull, the first bite and the reaction, stands in for the sense the medium cannot carry. Brands that understand this brief their content around those substitutes. Brands that do not end up with pretty footage of food that does not move, which is really a photograph that happens to be a video.

This guide covers how each substitute works, why sound carries more of the load here than anywhere else, what perishable stock does to the shoot plan, how filming packaged goods differs from filming a restaurant, and the claims, allergen, alcohol and advertising rules that keep UK food marketing on the right side of the regulators. It applies whether you make hot sauce, run a bakery subscription, brew beer or operate twelve restaurants, though, as you will see, the last of those is really a different product with the same camera.

You are selling a sense the screen cannot carry

Hold on to this idea, because it explains every craft decision that follows. Taste is private. A screen can deliver sight and sound only, so food video uses the two senses it has to call up the memory of the ones it does not. The viewer has eaten crusty bread before. The right crackle at the right moment does not describe the bread; it replays the viewer's own memory of bread, and the appetite that arrives feels first hand because, in a sense, it is.

That is why the classic moves of the genre are what they are. Rising steam says hot and fresh through sight alone. A slow pour says texture: how thick or thin a liquid is reads in motion in a way no adjective can match. The pull apart, the cheese stretch and the knife through a crisp crust all turn texture into movement. The first bite, and the small pause that follows it, says more than any voiceover, because people read a face faster than they read a claim. Underneath all of it, sound does the heaviest lifting, which earns it a section of its own.

The practical consequence for your brief is simple: build every food video around one main substitute, chosen to match what really sells the product. A soup sells on steam and the ladle pour. A protein bar sells on the cross section and the bite. A craft lager sells on the crack of the can, the pour and the head settling. Ask of any draft edit which substitute the video is running, and whether it arrives early enough. If the answer is none, the video is decoration.

It also tells you what to leave out. Long shots of a product sitting on a styled table, slow pans across ingredients that do nothing, and captions that list flavour notes all spend seconds without triggering anything. The viewer does not need to be told the sauce is rich; they need to see it coat the spoon. Every second that is not doing appetite work is a second in which the thumb can move on.

Sound: the category where audio does most of the work

Food is the one UGC category where sound is not there to support the picture; often the picture is there to support the sound. Sizzle, fizz, crunch, the glug of a pour, the tap of a spoon on a coffee's crema: these trigger appetite in their own right, and many viewers turn the sound on for food content precisely to hear them. That changes the production brief in concrete ways.

Record the real sound, closeThe crunch has to be the actual product, recorded near the source, not an effect from a sound library. People who watch a lot of food content can tell when a sound has been added, and it undoes the trust the video was meant to build.
Protect the sound moments in the editThe crack of the can and the first pour deserve to sit almost alone in the mix. A trending track laid over the top at full volume deletes the most persuasive second in the video. Music can come in after the moment, or sit low beneath it.
Treat kitchen noise as a set problemExtractor fans, fridges and background chatter blur exactly the sounds appetite listens for. Plan the shoot around quiet moments the same way you would plan around good light, and switch off what can be switched off for the few seconds that matter.
Make it work with the sound off as wellMany people scroll with the sound down, so the video must still make sense in silence, with captions and visible texture carrying the story, while rewarding the viewer who taps for sound. The best food UGC works both ways.

When you review anyone's food portfolio, ours included, listen before you look. If the eating sounds are vague, distant or missing, the footage was made by someone thinking with their eyes only, and half the format's power has been left on the table. Then watch it again muted. If it still makes you hungry in silence, the picture is doing its share too.

The taste substitutes, shot by shot

Each substitute is a small piece of physics to solve. None of them needs a studio. All of them need someone who has filmed food before and knows where it goes wrong.

Steam and heatSteam is fragile. It shows against darker backgrounds, with light from the side or behind, in cool air. A hot dish filmed against a bright white wall shows nothing. The usual move is to plate hot, turn off the overhead light, bring a window or lamp behind the dish at an angle, and film within the first minute or two. For cold drinks the equivalent is condensation, which is why cold serves are filmed straight from the fridge.

The pourA pour shows texture and generosity at once: honey ribboning, cream clouding into coffee, beer building a head. The craft rules are a slow pour, a steady camera and one light raking across the liquid. One good pour beats five average ones, so the shoot needs enough product for several takes, which feeds straight into the quantities covered below.

The pull, the cut and the breakTexture becomes visible at the moment something separates: the cheese pull, the yolk break, the snap of chocolate, the tear of fresh bread. Each one uses up a unit, so the shot list has to say how many units the shoot can spend. If your product has a signature moment like this, it is almost certainly your strongest three seconds, and it belongs at the start, not the end.

The first bite and the reactionThe reaction shot is the closing argument, and it has one rule: it must be real. Audiences are unforgiving about performed delight. The answer is to film the genuine first taste, once, with the camera already rolling. A real pause, and a second bite reached for without looking at the camera, persuades more than any scripted superlative.

Reactions are also where claims slip in by accident, which matters for the rules section below. A person on camera saying a drink "fixed my afternoon slump" has just made a health claim on your behalf. A genuine reaction and a careful script are not in conflict: the reaction is real, and the words around it are agreed in advance.

Velena Nikolova in a brown dress holding up a plate of food in a kitchen — The serve is plated once and filmed straight away, while it still looks its best.

Behind all four substitutes sits the same principle: decide the hero moment before the shoot, not during it. A shoot that knows it is chasing the pour lights for the pour, chills the glass for the pour and spends its spare product on the pour. A shoot that tries to capture everything equally usually captures nothing especially well.

Watch food and drink videos we have made

Tap a video to play it. Watch once with the sound on and once muted, and notice whether it works both ways. There is more on the food and drink work page.

Six food and drink formats that sell

The substitutes are the ingredients; the formats are the dishes. These six are the ones we film, and each answers a different question a buyer has. You tell us which one you want in your brief.

The taste reactionThe honest first bite or sip, to camera. Best used at a launch and for flavours with a story: the limited edition, the collaboration, the unlikely pairing that works. It argues for the product in a personal register, which is why it tests well against the more polished serve.
The recipeYour product cooked into a dish the viewer wants to make, from start to plate. It multiplies the ways people use the product, which multiplies how quickly they use it up, and recipe content tends to be saved for later. A hot sauce brand does not sell bottles with this format; it sells the fourth and fifth use of the bottle already bought.
The serveHow to pour, mix or present the product the way you intend, at its absolute best, in under 30 seconds. This is the workhorse: it shows what the customer is actually buying and sets the standard for how to enjoy it. Every food brand should have a current serve video for every hero product, embedded on its product page.
Pantry and routineYour product as part of a real week of meals: the breakfast it belongs to, the shelf it sits on, the lunchbox it goes in. It sells habit rather than a single moment, which suits staples, snacks and subscriptions.
The paid advertBuilt for Meta and TikTok from the first frame, with the hook in the first three seconds and the product in shot early. The pacing is tighter and the edit is planned so it can run with spend behind it, which makes the advert rules below essential reading.
Unboxing and first impressionsThe box opened, the packaging shown, the first taste. For subscription boxes, hampers and gift sets it is the strongest proof of what arrives, and it borrows every rule in our guide to unboxing video production in the UK.

Two more ideas are worth knowing even though they sit outside a standard package. The making of video shows where the product comes from: the bakery at five in the morning, the small batch bottling line, the coffee roast. It justifies a premium price without mentioning price, and because it is filmed where you make things, it needs a bespoke brief rather than a parcel. The comparison serve puts your product beside the ordinary version of the same moment, shop custard against yours, instant coffee against a pour over. Handled honestly and without naming a competitor's brand, it is a sharp format for products whose difference can be seen or heard. The restock, the repeat order arriving and the cupboard refilled, is a third idea for consumables, and it sits naturally inside pantry and routine.

If you are unsure which format fits, our UGC quiz asks four questions and names the video you need.

Perishable stock: why the food shoot window is short

Food is the only UGC category where the product fights the schedule. Hot food has minutes of camera life. Baked goods have a day at their best. Fresh produce wilts, ice cream is a countdown from the freezer door, and even long life products have a best looking serve that cannot sit under lights for long. The consequences run through the whole order.

Dispatch is planned around the shootPerishable parcels should travel on a next day service early in the week, with the filming date agreed before anything leaves you. A Friday dispatch that sits in a depot over the weekend arrives as wasted stock and a rescheduled shoot. We tell you our address and the best day to post when we reply to your brief, within one business day.
Quantity is a production inputEvery pour and every pull apart uses up product. A brief that wants a cheese pull, a pour and a first bite needs enough units to do each more than once. Sending roughly double what one serving needs is the cheapest insurance in the category.
Do the sums before you postCount the shots that use up product and multiply. A cheese pull, a pour and a first bite are three; filming each twice for safety means six units before anyone has eaten lunch. Put the number in the brief: this shoot uses eight servings, so we are sending twelve. Brands with flawless food content are rarely luckier than everyone else; they simply sent enough for a take to fail and recover.
Preparation is part of the briefIf the product needs cooking, the brief says exactly how, because the version on camera becomes the product's public face. Include the serve you want: the glass, the garnish, the level of plating. Storage and allergens go in the brief too, so the product is kept and shown as you intend.
Seasonal lines need a tight calendarA pumpkin spice launch or a Christmas pudding has a few weeks of relevance, so the round of changes is planned into the calendar rather than left open. Order early enough that the video is live before the season starts, not halfway through it.

One practical note on what happens to the product afterwards. Food sent for filming is opened and used, so it is not returned unless we agree that in writing before you post it. Plan your sample stock with that in mind, and keep a few units back for your own photography if you need them.

Velena Nikolova in a cream cardigan holding up a jar of Honeybee and Co honey in a kitchen — Filmed in house with the product exactly as a customer receives it.

Velena Nikolova in a cream one-shoulder top holding a glass of red wine at a white-clothed restaurant table with a plate of pasta — The glass is the wardrobe: the right one makes the same drink look premium.

Drinks are their own craft

Everything above applies to drinks, but the category has three quirks worth naming before you brief. First, the glass is the wardrobe. The same liquid looks premium in the right glass and forgettable in a mug, so the brief should name the serving glass, or someone's kitchen cupboard decides how your brand is presented. Second, for many drinks clarity and colour are the product, which makes light from behind the default: a light behind the glass turns a pale ale gold and a cold brew deep brown, while light from the front makes both look muddy. Third, the fizz clock is real. Bubbles, foam and a beer's head last seconds rather than minutes, so sparkling serves are the last shot set up and the first shot filmed, with spare bottles chilled for retakes.

Coffee, soft drinks and alcohol also differ on the reaction shot. Coffee and soft drinks can use the full toolkit. Alcohol cannot show the drink doing emotional work, under the alcohol rules covered below, so drinks with alcohol sell on craft, the ritual of the serve and the vocabulary of taste instead, and the reaction stays appreciative rather than transforming. It is a narrower lane, and a well briefed shoot works perfectly well inside it.

Low and no alcohol drinks sit in between. They can show more of the social moment than an alcoholic drink, but if the brand name or packaging is shared with an alcoholic range, the advert may still be read as promoting alcohol. Brief them carefully, and keep the alcoholic and the alcohol free versions in separate videos.

Packaged goods and restaurants are different products

The phrase "food and drink UGC" covers two jobs that share a camera and very little else, and buying the wrong one wastes money.

Packaged goods UGC is the model this guide has described so far. You post your product to us, our team films it in a home setting, and the videos feed your product pages, your organic social media and your adverts. The setting is deliberately ordinary, because the argument is that this product belongs in the viewer's own kitchen. It is the right buy for direct to consumer food brands, drinks brands, snack subscriptions and anyone whose checkout is online. You also choose who appears on camera: Velena, Dragos, both of them, nobody with a voiceover, or no preference, and the price is the same.

Restaurant and hospitality content is a location shoot. The product is not something that can be posted; it is a room, a service and a plate arriving at a table. Our team comes to you, the shoot covers the space, the people and the dishes in one visit, and the result feeds bookings rather than baskets. The economics are different too: a visit produces a set of Reels and stills rather than a single video, so it is sold as a session, a day or a monthly rhythm.

Velena Nikolova and Dragos Nistor at a fine dining table in the Leitlhof hotel restaurant in San Candido, with wine, a candle and a plated starter — A venue is filmed where it happens: the room, the table and the plate.

Restaurant Content: Menu Spotlight£650a sessionUp to 3 hours on your signature dishes, drinks and room, between services.

Restaurant Content: Content Day£1,450a dayA full shift on site, the kitchen included, with a venue film, 6 Reels and 12 stills.

Restaurant Content: Monthly Retainer£950a monthTwo visits a month, 6 Reels, 10 stills and a monthly review of what worked.

The full picture for venues is on our restaurant content packages page, how we film a dish is on restaurant food video content, and if you want the publishing, captions and community handled as well, see hospitality social media management.

The rule of thumb: if your customer's next step is a basket, buy packaged goods UGC from the food and drink packages. If their next step is a booking, buy a location shoot. Brands that do both, a brewery with a taproom or a bakery with a subscription, should brief them as two separate streams of content from the start, because a "buy now" and a "book a table" rarely sit well in the same edit.

The rules: claims, allergens, alcohol and the 2026 advert ban

Food marketing in the UK carries wording rules that apply to your UGC the moment you commission it or reuse it, and they are strictest in exactly the places people improvise. None of this is a reason to avoid the format. It is a reason to build the rules into the brief, so the footage can be used wherever you want to run it. This section is a practical summary, not legal advice; for wording you are unsure of, ask whoever signs off your packaging.

Health and nutrition claims

Health claims are a controlled vocabulary. In Great Britain, a specific health claim about a food or ingredient is only allowed if it appears on the GB nutrition and health claims register, and the ASA explains that general health claims such as "good for you" may only be made if they are accompanied by an appropriate specific authorised claim. The CAP Code applies this to advertising in Section 15, on food, food supplements and associated health or nutrition claims. In practice, a person in your video saying "this gave me so much energy" about your smoothie has made a health claim in your advert. So the brief lists what may and may not be said, in plain words, before anything is filmed, and we script only from claims you have approved, telling you if a wording reads as medical.

Allergen wording

Allergen information is a legal duty, not a matter of style. The Food Standards Agency's allergen guidance for food businesses sets out the 14 allergens that must be declared and how. UGC that shows cooking or serving should never contradict your labelling: a caption calling something nut free when the pack says "may contain" is a liability you have created for yourself. The safe pattern is simple. Videos stay silent on allergen status and point to the pack and the product page, unless whoever owns your labelling has signed off specific wording. Tell us about allergens in the brief, so we can handle the product safely as well as present it correctly.

Alcohol

Drinks with alcohol face extra rules in Section 18 of the CAP Code. Adverts must not claim or imply that alcohol can enhance confidence or popularity, and people shown drinking or playing a significant role must neither be nor seem to be under 25. Both matter for UGC: a reaction that suggests the drink made the evening, or a presenter who looks young, can sink an otherwise good video. If that is your category, the brief tightens accordingly.

The less healthy food and drink advert ban

This is the biggest change since this guide was first written. The UK's restrictions on advertising less healthy food and drink came into force on 5 January 2026: a 9pm watershed on TV and a ban on paid online adverts for products that fall within scope. The government publishes the product categories in scope, which are judged with a nutrient profiling model, so a product is in or out on its recipe, not on how healthy it feels.

Three details matter most for UGC, as the IAB's summary of the rules explains: paying a creator to post content online counts as paid advertising, and the advertiser is responsible; businesses with fewer than 250 employees promoting food or drink they make or sell are exempt, though they must be able to show it; and your own website and social accounts are not in scope, but paying to boost a post from them is. Brand adverts that do not show a specific in scope product are also outside the ban.

For a food brand, the practical steps are these. Check whether your hero products are in scope before you plan a paid campaign. If they are, and you are not exempt, use the videos on your own channels and product pages, build adverts around products that are out of scope, or make brand adverts that do not show a specific product. If you are a smaller business, keep the evidence of your size to hand. We will film what you brief either way; the decision about where a video runs is yours as the advertiser, and it is far easier to make before the edit than after it.

Honest reactions and labelled adverts

Two more rules apply to every UGC video, food or not. Since 6 April 2025, the Digital Markets, Competition and Consumers Act has banned fake consumer reviews, and the CAP Code now says marketing must not contain them; the ASA's note on fake consumer reviews covers the detail. A taste reaction filmed for your brand is an advert, not a customer review, and must never be presented as one. And content you paid for and control must be clearly labelled as an advert, as the ASA's influencers' guide to making clear that ads are ads explains. Our plain English guide to the UK ASA CAP Code rules for social media covers how this lands on each platform.

Velena Nikolova in a cream top holding a glass of red wine at a table in the Leitlhof hotel restaurant, wood-panelled walls behind — With alcohol, the serve and the craft do the selling, never the mood.

Measuring whether food UGC worked

Food content collects flattering numbers almost by default, because everyone watches food, so measuring it properly matters more here than in most categories. Match the measure to the format.

Serve videos on product pagesJudge them on the conversion rate of visits that played the video against visits that did not. It is the cleanest test you can run, and for considered purchases it is often the most flattering.

Recipe contentJudge it on saves and profile visits. Its job is to deepen use and pull people into the range, not to sell on the spot, so a recipe with modest reach and a high save rate is doing well.

Taste reactions and advertsJudge them as direct response: click through and cost per sale when they run as paid. Compare a new video with your existing adverts at the same age, not against an advert that has had months of optimisation.

Pantry and routineJudge it over months rather than days, on repeat purchase, subscription sign ups and returning visitors, because habit builds slowly.

Two warnings specific to food. High reach with few saves usually means the video entertained people who will never buy, which is fine for a crisp brand with national distribution and a waste of money for a nine pound bar of single origin chocolate. And appetite content tires quickly in a paid rotation, because the surprise fades on the second viewing, so plan a fresh cut every few weeks rather than running one hero advert until it stops working. That is what the Bundle, and the monthly plan, are for.

A note on judging appetite honestly: you are the person least able to judge your own food content. You know what the dish tastes like, so the video always works on you; your memory fills the gaps the footage leaves. The test that matters is someone who has never tried the product, watching on a phone with the sound as they would really have it. If a friend scrolls past your serve video without slowing down, no dashboard will rescue it. Show drafts to people with no stake and no tasting history, and believe their thumbs over your own hunger. The free social media ROI calculator helps you set a target before you spend.

Velena Nikolova in a white summer dress leaning on a kitchen counter beside a vase of red roses, portfolio card — An ordinary kitchen is the point: it tells the viewer the product belongs in theirs.

What food and drink UGC costs

Food and drink UGC at Velena Lifestyle comes as four packages with the price on the page. Every package is filmed and edited in house to the same standard; what changes is the script, the number of opening hooks, the formats and where you may use the video. Basic, Standard and Premium come in 15, 30, 45 or 60 seconds, so the prices below are each package's starting point. The Bundle is three Standard videos of 30 seconds each.

Food & Drink UGC: Basic£160a video, fromOne video in one format for your own channels and product page. No advert rights.

Food & Drink UGC: Standard£235a video, fromA script written for you, 2 hooks, 9:16, 4:5 and 1:1, and 12 months of advert rights.

Food & Drink UGC: Premium£360a video, fromFull direction, 3 hooks, four formats, the raw footage and adverts from Velena's handle.

Food & Drink UGC: Bundle (3 Videos)£610for three videosThree Standard videos, each with its own script, to test three ideas at once.

Rights follow one rule across the site. Standard, Premium and the Bundle each carry 12 months from delivery of paid advert rights on Meta, TikTok and Google, with Premium covering all platforms, so a launch video you commission in September can still run as an advert next summer. Basic has no advert rights, which is right for a product page video and wrong for an advert: buying Basic first and upgrading later means paying twice. Premium also lets your adverts run from Velena's own handle, which reads as a person recommending a product rather than a brand promoting one.

Delivery counts from the day your product arrives: 5 working days on Basic, 7 working days on Standard, 10 working days on Premium and 10 to 14 working days on the Bundle. Basic includes 1 minor round of changes, Standard 1 full round, Premium 2 full rounds and the Bundle 1 full round per video. Nothing is filmed until the brief and, from Standard upwards, the script are agreed with you in writing.

Which package for which job? Basic covers the serve on a product page, where honesty is the production value. Standard is the default for anything that will run as an advert, because the licence and the script arrive together. Premium earns its price on launches, where full direction, three hooks and the raw footage give your own team everything to cut further versions from. The Bundle is the testing tool: three ideas against one product tells you within a month whether your audience buys the serve, the reaction or the recipe, and that knowledge outlasts every individual video.

Need new food videos every month?The UGC Monthly Plan delivers your range's Bundle every month, from £430 a month, for less than the one-off Bundle.

See the monthly plan

For context on what the wider UK market charges for comparable work, our UGC rates report for 2026 breaks it down, and the free UGC rate calculator lets you price a brief yourself.

Where food and drink UGC fits, and what to do next

The playbook that works is not complicated. Build a monthly rhythm of taste substitute content around your hero products. Keep one seasonal stream for launches and gifting windows. Cut the strongest videos into adverts with the licence already in place, after checking the product against the less healthy food rules. And embed the best product videos beside their buy buttons, where they answer the question of what it is really like at the moment someone decides.

If UGC is new to you, start with what UGC is and how brands use it. If you sell online, our guide to UGC for e-commerce covers product pages and checkout in more depth, and UGC advertising covers testing and running videos as paid adverts. If you would rather have the whole rhythm run for you, publishing, captions, community and reporting included, our social media management plans do it month to month, with 2 months notice.

And before you commission anything from anyone, watch their food work with the sound on. If it does not make you hungry, keep scrolling.

Food and drink UGC: questions buyers ask

What is UGC for food and drink brands?

Short vertical video of your product being made, poured, opened and eaten by a real person in a real setting. It triggers appetite in a way still photography rarely manages, and the same shoot can feed product pages, organic social media and paid adverts.

How do you film perishable products?

The shoot is planned around the parcel. Perishables travel on a next day service early in the week, with the filming date agreed first. You send enough units for several takes of the pours and pull apart shots, and hot dishes are filmed within their first minutes.

Can a creator say my product is healthy?

Only within the rules. In Great Britain, specific health claims must be on the GB nutrition and health claims register, and general claims such as "good for you" must sit with an authorised specific claim. Words spoken in a video you paid for count as your advertising, so the brief lists what may be said before filming.

Can I run food UGC as a paid advert in 2026?

Yes, if your product is outside the less healthy food rules or your business is exempt. Since 5 January 2026, paid online adverts for in scope products are banned unless the advertiser has fewer than 250 employees. Your own channels and brand adverts that show no specific product are outside the ban.

Do you eat or drink the product on camera?

Yes, where the brief asks for it. Tell us about allergens and storage in the brief, so the product is handled safely and shown as you intend. The product is opened and used, so it is not returned unless we agree that in writing first.

Who appears in the video?

You choose: Velena, Dragos, both of them, nobody with a voiceover, or no preference. The price is the same whichever you pick. For drinks with alcohol, everyone shown drinking is, and looks, over 25.

What is the difference between packaged goods UGC and restaurant content?

Packaged goods UGC is filmed with a product you post to us and feeds baskets. Restaurant content is a location shoot that films your space, service and dishes in one visit and feeds bookings, which is why venues buy a session, a day or a monthly plan rather than a single video.

References

Dragos NistorCo-Founder and Business StrategistDragos co-founded Velena Lifestyle and leads its business strategy. Named a LinkedIn Top Entrepreneurship Voice in 2024, he writes about UGC, content production and the rules that govern advertising on social media. Velena and Dragos both guest lecture at the University of Greenwich on social media and content strategy, and are invited back several times a year.

A question this article did not answer? Ask our team, and a person will reply.