Two days before Sofia Richie Grainge’s wedding, there was something else to get ready for. On April 20, 2023, she posted her first TikTok: a get-ready-with-me video. The occasion was extraordinary; the format was familiar to anyone who had ever watched a stranger choose an outfit on a phone. Adee Drexler, her manager, publicist and agent, understood the usefulness of that combination. Viewers could accompany a person they might otherwise have watched from a considerable distance.
By June 16, that first video had 8.9 million views. Richie Grainge’s account had 2.7 million followers. Drexler described the launch as an invitation into a new chapter of her client’s life. There was a wedding in France, certainly, but there was also the smaller pleasure of following along. For a few minutes, the public could be part of the preparations. A front-row seat had become a place near the dressing table.
Drexler’s own place in the picture is usually less conspicuous. She founded Infinity Creative Agency in 2014, building a business around fashion, beauty, talent and the introductions that connect them. Her career makes a useful companion story to the image on the screen. Someone has to consider which door to open, who might come through it and whether the encounter will mean anything once everybody has gone home.
A snapshot of Sofia Richie Grainge’s debut video, not a measure of agency revenue.
The person between the introductions
ICA’s website puts brands, talent and creatives together. Its services move from strategy and media relations through social media, celebrity work, experiences and events. Los Angeles, New York and global work appear in the same description. This is a business designed to follow a client across several kinds of encounter, rather than stop when a photograph reaches an editor’s inbox.
The arrangement gives Drexler several perspectives on a potential partnership. ICA works on brand communications, represents talent and buys talent for campaigns. The company seeking a public face and the person considering a commercial relationship have different questions. A useful introduction requires attention to both. Recognition may get a proposal read; the pairing still has to suit the people involved.
In 2024, ICA’s management roster included Sofia Richie, Jasmine Tookes, Josephine Skriver and Elsa Hosk, alongside makeup artist Leah Darcy. Its brand work included fashion and beauty companies with quite different audiences. The range makes the matching problem more interesting. Choosing someone famous is a fairly short assignment. Understanding why that person belongs in a particular campaign takes considerably longer.
There is also a difference between managing an individual career and arranging a single appearance. Drexler had worked with Richie Grainge for years before the wedding. Her account of the moment emphasized a developing sense of style. That history matters to the story: the audience was arriving at a relationship already in progress, with someone behind the scenes who knew its earlier chapters.
A room without the compulsory photograph
Consider another decision from that same spring. ICA had been staging its House gatherings since 2021. In 2023, ahead of Coachella, Drexler invited people into the agency’s 20,000-square-foot Downtown Los Angeles office and showroom. Visitors could see how the brands were displayed and speak to the representatives who worked with them. Racks of clothes had a straightforward purpose: somebody might actually want to wear them.
Some VIP clients, she explained, preferred coming in to choose clothes without having their picture taken for publicity. It is a pleasing detail in a profession devoted to visibility. An invitation can be more attractive when it does not arrive with a camera attached. Giving people room to do the thing they came for can be part of the service.
Her team’s guest list included established relationships, newer creators, media and friends of the agency. She also acknowledged the need for better size availability, saying ICA requested the brands’ full ranges and could arrange delivery when a size was absent. The physical details of access matter. A welcoming message is easier to deliver than a showroom in which everyone can find something that fits.
The guest list has a history
Go back a year, and ICA’s House Series offers another view of the operation. The series began in the Hamptons in 2021. Its 2022 Los Angeles edition brought together more than 50 brands and over 250 guests before festival season. Those numbers describe a substantial gathering, but the work also involved smaller decisions about who participated and how.
For an Amazon Influencer Program dinner celebrating AAPI creators and AAPI-owned small businesses, ICA selected AAPI businesses for the venue, flowers and production. The principle extended into the purchases that made the evening happen. A guest could see a celebration; the organizers also had to decide where its spending would go. That is a more demanding interpretation of a theme than putting a phrase on an invitation.
These projects help explain Drexler’s business beyond the shorthand of a contact book. A list tells you whom you can reach. A gathering requires you to think about why those people should be together, what they will find there and what they might remember afterward. The invitation is the first piece of the work the guest sees. Much of the decision-making is already behind it.
A public moment people can join
Editorial illustration of the decisions involved, not a proprietary ICA process.
What kindness looks like at work
Drexler’s stated relationship principles are unusually plain: “Cultivate relationships with kindness, integrity and respect”. Her public description of the work gives kindness a practical form. Sharing other women’s achievements and attending events to support them are ordinary actions. Neither requires a campaign budget. Both require remembering that another person has something happening in her life.
By 2020, her experience spanned more than a decade in business development, marketing, branding, influencer work and social media. The professional range is broad; the relationship advice is compact. There is no elaborate vocabulary to learn before trying it. Treat people well. Support the work they care about. Give them a reason to enjoy seeing your name appear on their phone.
That philosophy also has an internal audience. ICA describes mentorship across campaigns, events, brand trips and strategic planning, with employees encouraged to develop ideas and gain experience in different areas. An agency built around the founder’s relationships has a practical management question to answer: how does the next person learn to exercise judgment? Experience has to become something colleagues can acquire, rather than something only the founder possesses.
“Virality can’t be forced.”Adee Drexler
The meeting after the moment
The wedding-era attention was followed by a rather different scene. In a 2023 day-in-the-life video, Richie Grainge sat down for an 11 a.m. business meeting with designer Cassandra Hobbins and Drexler. They were discussing a clothing line. A public fascination with someone’s wardrobe had an accompanying conversation about making clothes. Here was the business day behind the lifestyle footage, with an actual appointment time.
The scene is useful because it gives Drexler’s role a little more texture. The same representative associated with a widely watched social debut was present for a product discussion. A career in public can contain both kinds of work: helping people encounter a person and helping that person decide what to build. The second question survives after the most enthusiastic comments have moved down the screen.
Drexler’s own account of virality leaves room for chance. She identifies timing, relevance, an apparently effortless execution and luck as ingredients, while warning that a visible attempt to manufacture the result can feel strained. There is some welcome modesty in that view. People who sell access to attention still have to work with an audience capable of making up its own mind.
Keeping the relationship in the picture
By 2025, Drexler had been named a PRNEWS Top Women in PR honoree in the Business Entrepreneurs category. In 2026, ICA appeared at No. 3,812 on the Inc. 5000, with 68 percent growth over three years. The recognitions supply dates and measurements to a career whose most visible products often belong to somebody else: another person’s campaign, another brand’s launch, another client’s public milestone.
Her argument about communications now begins with people. “People connect with people before they connect with companies,” she says. She has questioned spending on traditional retainers when it fails to produce relevance, community or revenue. The ambition is concrete enough: attention should lead somewhere useful. An appearance is one opportunity in a longer relationship between a business and the people it hopes to reach.
At ICA Sunset, that relationship has a physical setting. Neue Maison furnished and styled the showroom with steel, marble, wood and glass, adding books, flowers and decorative objects. The space offers a quieter image of Drexler’s profession than the public campaign does. Before the outfit travels, before the partnership is announced, before anybody counts the views, there is still the matter of making somebody feel comfortable enough to stay.