A little lab sample can carry a surprisingly large invitation. In early 2024, 150 creators received a preview of Missy, a forthcoming fragrance from By Rosie Jane. Fifty belonged to the Sephora Squad. The bottle came with a card presenting it as a secret sneak peek. The finished perfume would arrive on March 11. For the moment, the recipients got to go first.
Angie Shumov, founder of Son of Noise, worked with the brand on that preview. The campaign was entirely organic, with a cost the brand estimated at $2,000. At the reporting snapshot, 31 recipients had made content. The small package gave them something to try, describe and introduce before the retail launch. A secret, it turns out, can have a fairly ambitious mailing list.
The arrangement offers a useful way into Shumov's work. Her business operates in the space between a product being ready and somebody having a reason to talk about it. A creator needs an experience. A customer needs a point of entry. A launch needs timing. Her assignments bring those questions together, sometimes in a perfume sample, sometimes in a room full of clothes.
Before the invitations, a byline
Shumov's path into that work began with words and images. At American University, her activities included editing lifestyle and entertainment coverage for The Eagle, alongside membership in the Public Relations Student Society of America. She also held recruitment, marketing and campus activities positions in Chi Omega. Writing, organizing and getting people interested already occupied neighboring spaces in her college life.
A November 2013 theater review carries her byline. She interviewed a director and cast members about a campus production, paying attention to how an audience would encounter the performance. The piece belongs to an earlier professional chapter, when her job was to observe an experience and explain why somebody might want to attend.
Her education also took her beyond Washington. Hawaii Preparatory Academy's winter 2015-2016 alumni update identified her as a 2013 graduate, then a communications junior at American University studying abroad in Madrid. She was also freelancing for the National Geographic Channel. Her university studies included a business administration and management program at Universidad Pontificia Comillas.
There is a pleasing overlap in those early activities: an editor thinks about what earns a reader's attention; a campus organizer thinks about who will turn up. Neither gets very far with a beautifully phrased invitation that nobody opens. The later agency career brought both kinds of work into the same professional vocabulary.
The Madrid chapter places her in two worlds at once: studying communications and business while writing professionally. That combination predates the agency by several years. It also gives the career some useful texture. Her preparation included both producing a piece of work for an audience and learning how organizations operate, with the newspaper and the classroom running alongside outside assignments.
An apprenticeship across the desk
Her early professional roles included digital media work at National Geographic Partners and an email marketing internship at Sony Pictures Entertainment in summer 2016. She then interned in social media and communications at The Brand Guild in spring 2017. Those jobs placed her around several ways a story travels: editorial publishing, email and social platforms.
A recommendation from her Sony supervisor, Helen Pastores, recalls a specific assignment. Shumov interviewed marketing colleagues across the studio, then turned those conversations into a presentation for senior management. It is a modest, useful episode: the intern had to ask questions, find the connections and present something that other people could use.
Another supervisor, Drew Elovitz, described her as “inquisitive, creative” and noted work spanning copy, photography, graphic design and social analytics. Recommendations are personal assessments, but these describe the work clearly. The early picture is of someone moving between making content and understanding its reception, rather than keeping those tasks in separate drawers.
In June 2017, she joined Hunter as an account coordinator, progressing to account executive the following year. Edelman followed in 2019, with PR and brand marketing responsibilities. At Chasen Creative Media, she worked in PR and influencer marketing from 2021, becoming an account supervisor for influencer work and special projects in 2022. In February 2023, she founded Son of Noise.
“inquisitive, creative”
Drew Elovitz / a former supervisor’s recommendation
First, find the people who like the perfume
One of the new agency's early documented assignments involved Dulce, By Rosie Jane's vanilla fragrance. The 2023 campaign unfolded in two stages: product seeding to 350 creators in March, followed by five paid TikTok collaborators in April. The total reported spend was under $10,000. Shumov worked with the brand on both initiatives.
The order mattered. Rosie Jane Johnston, the brand's founder, had reservations about paying people to recommend perfume. Sending the product first allowed the team to see who responded to it and how they spoke about it. Paid collaborations could then develop from an actual encounter with the fragrance.
The April posts also coincided with Dulce's wider Sephora rollout and the retailer's savings event. Sales doubled during the effort. That timing belongs beside the result: retail distribution and promotion were happening too. The campaign is an example of coordinated activity, with several things working at once, rather than a tidy experiment assigning every sale to a post.
The later Missy preview used a different invitation. Creators received early access to something still approaching release. Both assignments made room for the recipient's own description. Perfume presents a particular communications puzzle: a viewer cannot smell a video. Someone else's language has to help carry the experience across the screen.
A brand becomes a room
Shumov's work also leaves the phone behind. At Parke's pop-up at 21Greene in SoHo, shoppers could browse an exclusive New York collection and get an early look at the summer collection. Son of Noise handled production. Scenic and staging work came from 11th St Workshop, catering from Pinch Food Design and graphics from Atlas.
The photograph of the event shows a room arranged for discovery: caps, bags and archival material in a display case, visitors leaning in to look, merchandise running through the space. An invitation can promise a mood. Production has to give that mood somewhere to live, with enough room for everyone else's elbows.
Designer Camila Walter described carrying Parke's creative direction through custom totes, signage, menus, invitations and archival displays. Her account thanked Son of Noise among a wider group of collaborators. The objects were small individually, but together they determined how the brand appeared from one part of the room to another.
Outside, the paperwork was less poetic. The agency's Greene Street activation application described a three-day event scheduled for May 16-18, 2025, opening from 10 a.m. to 6 p.m. Plans included ropes and stanchions for the queue and a possible coffee cart. A brand experience, apparently, also requires a position on where the line goes.
The application also called for brand ambassadors and security, with gaps in the queue to preserve access to fire hydrants. These are ordinary provisions, but they show how quickly a marketing assignment becomes a public-space assignment. The people waiting to enter share the street with everyone who has somewhere else to go. The experience begins before anyone reaches a display.
The agency behind the encounter
Son of Noise describes an approach that starts with earned attention and close collaboration with clients. Its team works from Los Angeles and New York, with capabilities across the United States. The service menu brings together brand strategy, media and creator relations, partnerships and events. In practice, those headings cover both the story a brand tells and the arrangements that let people encounter it.
By 2025, the agency had received Next Gen recognition from The PR Net. Its full-service client roster had more than doubled over the preceding year, alongside an increase in project work. The award profile also described pop-ups for Salt & Stone, Parke, AUREUM and Year of Ours, with responsibilities extending to vendors, VIP programming, inventory and staffing.
The 2025 client list included U Beauty, By Rosie Jane, Sonsie, Parke, AUREUM and Lenny. New wins included Salt & Stone, SOSHE Beauty, J Beverly Hills and Chris Collins. The range puts the agency among businesses selling products people wear, carry or use as part of their everyday presentation. Those products ask for a personal introduction, whether the setting is a creator's video or a temporary shop.
That last pair deserves its place beside the more glamorous words. Inventory determines what a shopper can buy; staffing determines whether anyone can help them. For a founder building a communications business, accepting those responsibilities makes the promise quite concrete. The agency is involved when the campaign meets the customer, including the parts that rarely make the invitation.
Shumov has also been the person commissioning creative work. Designer Lily Turner publishes her response to a Son of Noise logo refresh: “Beyond thrilled with the (logo) revamp. Can’t thank you enough.” It is a brief glimpse of the agency founder on the client's side of the exchange, delighted that someone else has made the idea visible.
Today her LinkedIn profile uses Angie Austin (Shumov), while the agency's founding story names Angie Shumov. Across the public work, the recurring concern is the encounter itself: what someone receives, how they experience it and what they might choose to say afterward. The sample arrives before the launch. The invitation arrives before the crowd. Her work is there in the preparation.