MxMIndia

Category: ADVERTISING

  • In 2022, Digital overtook TV to turn the largest medium with a 38% share, notes the Pitch Madison Advertising Report 2023 released on Wednesday

    AdEx grew 21% in 2022, to grow 16% in 2023: Madison

     

     

    By Our Staff

    Madison Media presented its predictions for the advertising industry for 2023.  The highlights of the report were released by Sam Balsara, Chairman, Madison World. According to Madison Media, AdEx has grown by 21% in 2022 to reach Rs. 89,803 crore. AdEx is expected to grow further in 2023 by 16% and will cross the landmark Rs. 1 lakh crore number to settle at Rs. 1,04,230 crores. In 2022, Digital grew by 35% to become the largest medium in AdEx with a 38% share, compared to TV’s 34%. TV grew by a modest 9% vs our projection of 14%.

     

    Figures at a glance:

     

    Key findings of the report:

    A. Overall:

    1) In 2022 total AdEx grew by 21%, Traditional AdEx by 14% and Digital AdEx by as much as 35%.

    2) Compared to Indian AdEx growth rate of 21%, Global AdEx, according to WARC grew by just 8% in 2022. The Top 11 countries that account for 70% of Global AdEx grew by only 1%.

    3) In absolute terms, AdEx has grown from Rs. 74,231 crore to Rs. 89,803 crore and this is the second highest gain of the last two decades.

    4) Traditional AdEx dominates Indian AdEx with a 62% share, whereas in Global AdEx the figure is 32%.  With a growth of 14% in 2022, Traditional Media at Rs. 55,399 crore, has just crossed its 2019 figure of Rs. 52,136 crore.

    5) Digital AdEx is now the largest medium with a share of 38%, followed by TV with a share of 34%.

    6) The Audio Visual medium contributes to 45.6% of total AdEx. Linear TV at Rs. 30,662 crores and Digital Video at Rs. 10,314 crores, totalling to Rs. 40,976 crores.

    7) FMCG continues to be the largest category, but its share has moved down from 38% in 2020 to 32% in 2022.

    8) Ecommerce has now established itself as the 2nd biggest category of AdEx, growing in Share from 4.9% in 2019 to 14% in 2022.

    9) The Top 5 Advertisers in AdEx are HUL, Reckitt, RIL, Dream11 and Mondelez. There are only 11 Start-Ups in the Top 50 Advertisers List vs 15 last year, confirming that VC money is drying up.

     

    B. Digital

    1) Digital grew by 35% in 2022, on top of a 50% increase in 2021, to reach Rs. 34,405 crore and has emerged the largest medium in AdEx with a 38% share, overtaking TV.

    2) A 10-year review shows that Digital has grown from a mere Rs. 3,050 crores with a 9% share, to Rs. 34,405 crores with a 38% share today.

    3) Inspite of all this growth, Digital AdEx in India trails behind Global AdEx. Digital share in Global AdEx is 68%.

    4) Video, Social, Display, Ecommerce and Search drive Digital AdEx. Digital Video continues to dominate Digital AdEx and having grown by 40%, has further improved its Share from 29% to 30%.

    5) Social grew the most at 45% and increased its Share from 20% to 22%. Display has grown more modestly at 19% and has lost 3 percentage Share points from 19% to 16%. Search has grown by 32%, but is only 16% of the market.

    6) Ecommerce has registered a 35% growth and now has a share of 16% of Digital AdEx. Whilst Google and Facebook account for the lion’s share of Digital ADEX, Amazon and Flipkart account for almost 80% of Ecommerce spends.

    7) Digital is going to continue to fuel growth of AdEx in 2023. It is expected to grow by 25% to reach Rs. 43,036 crore and increase its share to 41% of AdEx.

     

    C. Television

    1) TV registered a modest growth of 9%, against our forecast of 14% to reach Rs. 30,662 crore.

    2) In 2022, for the first time we see signs of stress in Linear TV and its Share has come down from a high of 42% in 2020 and 38% in 2021 to a new low of 34%. With increasing spends in Digital, TV has now moved down to number 2 position in the Indian AdEx.

    3) TV has also seen a 8% decline in viewership over the last year, and a 13% drop compared to pre-Covid year 2019.

    4) TV has seen a marginal drop in Advertisers from almost 11,000 in 2021 to less than 10,500 in 2022.

    5) FMCG continues to be the largest contributor to TV AdEx with a share of 45%. Ecommerce, the 2nd largest contributor to TV AdEx, further increased its share from 18% to 20%, followed by Auto which has maintained its share at 5%.  Education has dropped its share from 6% to 4%.

    6) In terms of Genres, Hindi GEC 2 has registered the highest growth of 47% followed by Sports at 22%. News, witnessed a degrowth during last year. Among the regional satellite channels, Tamil continues to rule the roost, followed by Telugu, Marathi, Bengali, Kannada and Malayalam in that order.

    7) TV AdEx is expected to grow by 9% in 2023 to reach Rs. 33,522 crore.

    8) FMCG, the largest category of TV Market, is likely to substantially increase its Advertising budgets, instead of reducing consumer prices because of lowering of raw material inflation.

     

    D. Print

    1) Print AdEx grew last year by 11% to reach Rs. 18,470 crores, a little short of its pre-covid figure.

    2) Both Volume and Value in Print have gone up by 15% and 11% respectively.

    3) H2 performed well for Print and 58% of its AdEx came from H2 vs only 46% in pre-Covid year 2019.

    4) In terms of category contribution, although, Education de-grew marginally, it has emerged as the largest category in Print overtaking FMCG, which grew by as much as 8%. Two other large categories, Clothing, Fashion & Jewellery and Household Durables grew substantially by over 50%.

    5) In terms of languages, Hindi Publications continue to dominate, followed by English and Marathi, the latter two having grown by 19% over 2021.

    6) We expect Print AdEx to grow at 9% in 2023, to reach Rs. 20,133 crore and reach pre Covid levels.

    With this growth, its Share will be 19%, compared to Global AdEx where it is a mere 4%.

     

    E. Other Media

    1) OOH AdEx has registered a high growth of 68% on the back of a growth of 69% the previous year, taking the industry to Rs. 3,666 crore and surpass its pre Covid level.

    2) Digital OOH continued to be the growth driver with its big bright, colorful and moving displays.

    3) Radio AdEx has grown by 17% to reach Rs. 2,032 crore, but it is still at 90% of its pre Covid level. Its Share in total AdEx is at 2%.

    4) Real Estate has emerged as the largest category in both OOH and Radio, pipping FMCG.

    5) Although Cinema grew by 317%, it has reached only the half way mark of its pre Covid number of Rs. 568 crore. But with new movies coming up, we expect Cinema to grow by 75% this year and reach Rs. 995 crore, almost upto its pre pandemic level.

     

    Added Balsara: “Indian AdEx is the bright spot in a relatively dull and uncertain global environment. Our AdEx has grown by leaps and bounds in the last 3 years marked by Covid and the War, except in 2020. However, media habits of Indians are rapidly changing and this is reflected in our AdEx numbers and commentary. Advertisers who ignore these changes will do so at their own peril.”

     

    Bharat Puri, Managing Director, Pidilite Industries Limited who launched the report said: “Experiment, innovate, know your consumer and don’t be afraid of failure”. He said, “Whilst chasing impressions, don’t forget to make an impression!”

     

  • The Insight Bharat series will be published every month and highlight various aspects of Bharat audiences, informs Nukkad

    Spends will grow 21% in Tier-2, -3 & -4 towns & cities: Nukkad study

    By Our Staff

     

    According to leading marketing outreach firm Nukkad Official, a part of martech firm Vatsana Technologies, spends will grow 21% in Tier-2, -3 and -4 towns and cities.

     

    Nukkad Official has been serving Tier-2/3/4 audiences in the country for the last nine years and is part of Vatsana, a leading player in offering digitally-driven marketing solutions.  The survey – part of the Insight Bharat series – also determined that 60% of Bharat enjoyed shopping on e-commerce portals.

     

    Insight Bharat is a monthly series of focussed studies conducted online by the Nukkad Official team. This survey was conducted in the month of January 2023.

     

    Other highlights of the survey:

    :: Over 65% of Tier 2/3/4 audiences feel that education is the key to greater professional success. Better education has a direct correlation with monetary success, they say. Edtech platforms are an excellent starting point to stay home and study
    :: Mobile phones are the #1 personal status symbol, as per 73% of respondents
    :: Covid has taught them It is important to conserve cash and save for the rainy day: 87%. Stop unnecessary expenses
    :: Travel is something which over 65% of respondents want to do, citing they consider it a destresser
    :: Telecommunications and Digital are the biggest equalisers for Tier 2/3/4 residents. You don’t have to live in a big city to be ahead in life
    Runa Sinha

     

    Runa Sinha
    Runa Sinha

    Said Runa Sinha, CEO, Nukkad Official, “The last 30-plus years have seen a tremendous India story, post liberalisation. Coupled with the media boom and the internet first and later mobile revolution, we see that geographical location of an individual is no longer a factor in her/his progress in life. At Nukkad Official, we appreciate the power of the audiences in Tier 2, 3 and 4 India, and have specialised in our outreach to them. We believe we are best placed to understand ‘Bharat’ consumers, their lifestyle and aspirations.”

     

    Added Sinha: “The Insight Bharat series will be published every month and highlight various aspects of Bharat audiences.”

     

  • ASCI releases its Influencer Trust Report and presents findings of a study

    Transparency & honesty key reasons why consumers trust influencers

     

     

    By Our Staff

     

    The Advertising Standards Council of India (ASCI) released a short report titled ‘Influencer Trust Report’ preceding its Brand Influencer Summit 2023 to be held later this month. ASCI conducted an online dipstick with 820 respondents above the age of 18 about their trust in social media influencers who promote brands online. The report reveals how much consumers trust influencer advertising, what builds trust and what depletes it.

     

    According to the report, 91% of people trust advertising in general, and 79% of respondents trust social media influencers. Transparency and honesty stood out as the key reasons why consumers trust influencers on social media (63%), followed by relatable content (57%), and personal stories at (53%).

     

    The report revealed that consumers stayed away from influencers when they sensed a lack of transparency (43%), repetitive content (42%), and over-promotion (41%). Overall, it was found that both brands and influencers gained from meaningful partnerships. Around 64% of consumers felt the brand became more trustworthy when influencers endorsed it, while 58% of those surveyed thought that the influencers became more trustworthy when they endorsed the brand.

     

    Other key findings of the report include:

    :: 6 out of 10 respondents claimed they spent at least 2 hours on social media, daily

    :: 90% of the respondents revealed they made at least one purchase based on influencer endorsement, while 61% claimed to have made three or more purchases. This behaviour was particularly prevalent among consumers ranging from 25 to 44 years of age

    :: Besides established brands, newer brands benefited considerably with their products being discovered through content advertised by influencers

     

    Ever since ASCI launched its influencer guidelines in May 2021, it has processed 2,767 cases against brands and influencers for not declaring material connections. Platforms where the violations occurred included Instagram at 58%, YouTube at 33%, Twitter at 7%, and Facebook at 2%.

     

    Talking about the findings of the report, Manisha Kapoor, CEO & Secretary General, ASCI, said: “While ASCI released its guidelines in May 2021, the Central Consumer Protection Authorities also now requires disclosure of material connection between brands and influencers. Hence, non-disclosures are potential violations of the law. An important aspect of the dipstick is the revelation that non-transparency was among the prime reasons why influencers lost the trust of their followers. On the other hand, transparency in their communication significantly built trust. We will be having several important conversations on this and other interesting aspects of brand-influencer partnerships at the #GetItRight Brand Influencer Summit 2023 with brand leaders and top influencers. The summit will help both brands and influencers understand how to build robust and sustainable relationships in the social media space.”

     

    The survey was conducted across multiple locations including metros, Tier I and Tier II cities.

     

  • To expand commerce and payments solutions for brands

    WPP partners with Stripe

    By Our Staff

     

    WPP partners with Stripe to expand commerce and payments solutions for brands on behalf of joint clients. With this announcement WPP is now a Consulting Partner within the Stripe Partner Ecosystem (SPE), a program which provides a comprehensive package of resources and access to industry-leading consulting firms.

     

    WPP, together with Stripe, will engage in strategy and consulting to help clients with a range of initiatives including digital transformation, new product launches, e-commerce design and development, mobile applications and payments infrastructure. WPP will receive early access to new product releases and go-to-market strategy in addition to receiving support from Stripe’s team of commerce and payment experts.

     

    By partnering with Stripe, WPP will enhance its digital commerce capabilities across its business which includes over 13,500 commerce specialists globally. The news follows WPP’s recent acquisitions of commerce agencies Diff and Fenom, and exemplifies the company’s continued investment in its commerce offer for clients.  Ranked as a Leader in Forrester’s latest global Commerce Services Wave, WPP already manages more than $40bn of direct and $20bn of marketplace GMV for clients.

     

    Stephan Pretorius, WPP’s Chief Technology Officer, said: “As companies increasingly move to digital channels to improve the customer experience, it becomes important that they implement a robust system with quality data to integrate their brand and commerce strategies. Through the deployment of best-in-class technology platforms, like Stripe, we’re able to support bold client ambitions, promote powerful data-driven commerce performance and remove friction in delivering first-rate customer experiences.”

     

    Added Dorothy Copeland, VP of Global Partnerships and Alliances at Stripe: “The increase in online spending is accelerating, and companies need to innovate quickly to stay ahead of consumer demand. By combining Stripe with WPP’s extensive commerce experience, businesses can modernize, get more out of their digital channels, and grow entirely new revenue streams.”

     

  • To elevate brand strategy at the agency

    BBH India appoints Ashutosh Jaiswal as VP, Strat Planning

    By Our Staff

     

    Ashutosh Jaiswal
    Ashutosh Jaiswal

    Publicis Groupe India agency BBH India appoints Ashutosh Jaiswal as Vice-President (VP) of Strategic Planning. In response to the exponential growth and evolving requirements of existing clients, along with several significant new business wins, BBH is continuing to expand its strategic capabilities.  Jaiswal will report to BBH India’s Chief Strategy Officer & MD, Sanjay Sharma.

     

    Jaiswal will continue to elevate brand strategy at the agency through a keen understanding of consumer needs leading to a more robust brand architecture for BBH’s existing clients and driving growth through new business.

     

    Sanjay Sharma
    Sanjay Sharma

    Sanjay Sharma, Chief Strategy Officer, and MD, BBH India, said: “We at BBH have been providing high-impact solutions to our clients across the entire marketing funnel. Ashutosh Jaiswal along with a  deep understanding of consumers and culture also brings expertise in analytics and platforms, which is of great importance in providing new-age marketing and communications solutions. I see him making a great impact on our work.”

     

  • … though some of the findings of GroupM's TYNY & Madison's PMAR studies are very different

    A Tale of Two Reports

     

     

    By Indrani Sen

     

    Indrani SenIt is time to celebrate as the TYNY (This Year Next Year) 2023 report released by GroupM last week declared that the total value of Indian AdEx in 2022 has crossed the 100K crore mark touching INR 1,09,636 crore and in 2023 is estimated to grow at a healthy rate of 15.5% over 2022 towards another milestone of 150K crore (predicted as INR 146450 crore in 2023). Digital AdEx with an estimated 30% growth rate is expected to power the overall growth. India continues to be the fastest growing advertising market and as per the TYNY report has moved up from 9th position to the 8th position among the Top 10 countries with a share of 2% of the global adspend.

     

     

    As per the tradition set up over the last few years, the PMAR (Pitch Madison Advertising Report) 2023 was also released last week with a prediction that Indian AdEx will cross 100k crore mark in 2023 (predicted as INR 104230 crore) with a growth rate of 16% over 2022. Digital AdEX with an estimated 25% growth rate provide momentum to the growth.

     

    Both the TYNY and PMAR have been predicting in the same line over last few years with the gap between their estimates of the size of Indian AD Industry becoming wider year on year. By 2023 the size of the gap in the two estimates will be 40% of the total Indian ADEX size estimated by PMAR and by 2025 the size of the gap may become 50% of the Indian ADEX estimated by PMAR!! Globally is quite common to have difference in the estimates of the AD Industry size / AdEX estimated by different organisations, but if the difference becomes huge then it causes serious concern.

     

    Six years back, I wrote here an article comparing the estimates of TYNY 2017 and PMA 2017 https://www.mxmindia.com/2017/02/what-is-the-real-size-of-indian-ad-industry/. In that year, the estimates for Digital AdEx by the two agencies were almost the same, INR 7000+ crore in 2016 and INR 9000+ crore in 2017. However, the TV AdEx estimated by TYNY was considerably higher than the TV AdEx estimated by PMAO and hence the total Ad Industry expenditure estimated by TYNY was around INR 6000 crores higher than the that of PMAO.

     

    It is interesting to note that over the last six years, Digital AdEx has increased at a much higher rate in the TYNY reports than in the PMAR reports. In 2022, the Digital AdEx INR 68,642 crore reported by TYNY was double the estimate INR 34,405 crore shown by PMAR.  AS per the TYNY report, Digital ADEX now has more than 50% share of the total AdEx, while in the PMAR report total traditional media is still enjoying around 60% share of the total AdEx as shown in the table below.

     

     

    The various industry websites including www.mxmindia.com and financial/ business publications have already reported on the findings of the two reports. Digital did not suffer during the three waves of Covid-19,  among the traditional media TV was the first to recover its pre pandemic revenue, outdoor recovered in 2022, print, radio and cinema are expected to recover in 2023. On the whole. 2022 was a good year for Indian Advertising and the immediate future looks bright.

     

    In spite of the widening rift between the TYNY and PMAR estimates, their leaders agree on the future directions. Prasanth Kumar, South Asia CEO, GroupM has said “As technology redefines interactions between consumers, brands and businesses the ad industry must navigate thru this changing environment.” Sam Balsara, Chairman and Managing Director, Madison World has advised the advertisers “to take advantage of the evolved digital infrastructure for distribution and advertising to prepare for the future growth and to invest in building their own D2C channels.” Only if the two agencies could stop the widening rift between the two reports, we would be in a happier situation.

     

    Indrani Sen is a veteran industryperson and educator. This is a new season of her Monday column on MxMIndia. Her views here are personal.

     

  • Called Changemakers for Good

    AFAA launches a pan-Asian award

    By Our Staff

     

    The Asian Federation of Advertising Associations (AFAA) launches a pan-Asian award called Changemakers for Good.

     

    The Award has four categories:

    1) Advertising – for messaging that has been transformational in the public space.

    2) Government – which is for a similar messaging but from the Government or an arm of the Government.

    3) Industry Leader – for a leader in the communications industry who has consistently led societal change in the last few years.

    4) Innovation – where technology or a radically different approach has made a difference in the lives of people.

     

    Said a communiqué – The period for the advertising messages would be the calendar year 2022. This is our pan Asian effort as a responsible industry association to highlight how communication has been used as a force for good. We believe this will position our industry in the right way, excite the younger generation to come and be a part of our industry and focus on some aspects of our industry that are unique to us. The awards will be judged in a two-tiered manner. National and then Pan Asian. The final winners will be felicitated at the prestigious AdAsia Seoul Korea in October ’23.” Detailed nominations with all relevant attachments can be submitted at afaahq@gmail.com along with contact details. Nomination deadline is March 15, 2023. For further details please visit afaaglobal.org.

     

    Srinivasan Swamy Chairman AFAA said: “We held a lot of discussions across Asia and came to the conclusion that in a world that is seeking out good in every single aspect of life, and even willing to pay a premium where they see something good, the time was ripe to salute what we call Changemakers for Good. This is a very simple set of four awards. And since we believe that the communication, or acts by these wonderful people is really priceless, we decided there would be no entry fee.”

     

  • Aims to double its revenues by 2026

    Crayons Advertising to launch Initial Public Offering (IPO)

    By Our Staff

     

    Crayons Advertising Limited agency is planning to launch an Initial Public Offering (IPO). The company has recently filed its Draft Red Herring Prospectus (DRHP) with NSE Emerge for the IPO. Upon listing, Crayons will be one of the first major homegrown advertising agency to go public.

     

    Said Kunal Lalani, Founder & Managing Director, Crayons Advertising: “In the past few years, we have consistently invested in our capabilities – comprising of people, processes, partners and performance. Today, we are aiming for an orbital shift, given our integrated proposition, the strong economic tailwinds for the advertising sector and sustained mandate flow in our digital and events verticals. We are raising funds to build further our digital capabilities, which will enable us to not only cater to the brands in Bharat, but also offer our new-age tech-led solutions to the world going forward.”

     

  • To handle its marketing duties

    Think WhyNot gets mandate for Art De Rug

    By Our Staff

     

    Art De Rug, a provider of handmade luxury rugs, takes a leap from conventional norms and mandates Think WhyNot – a strategic agency, focusing on the metaverse for its marketing duties. The assignment aims to bring the company’s unique and high-quality rugs to new audiences in the virtual and augmented reality space.

     

    Said Rohit Sharma, Director of Art De Rug: “With Metaverse being the latest buzzword, only a few industries have embraced the concept early. However, the luxury and fashion industries are among the foremost adopters of the concept. At Art De Rug, we are always looking to enhance our customer experience.  Giving our handmade rugs a Web 3.0 edge, is an initiative to stay ahead of the curve and provide our discerning customers a value addition that can be passed through generations.”

     

    Sangram Surve, Managing Director of Think WhyNot, added: “After working with Meta globally on a lot of their Metaverse-related projects, working with Art De Rug to add a Web 3.0 edge to a niche luxury category is a great opportunity. Luxury marketing is all about storytelling, and adding AR/VR to the mix adds an immersive edge to stories. NFTs will only add more exclusivity to your ownership of a luxury product and will increase the timeless appeal of the design – something that can be passed on as a family heirloom. We are looking forward to an exciting Metaverse-centric campaign.”

     

  • Use Multiple Creatives to Re-enforce Message Effectiveness, recommends Sanjeev Kotnala

    The More The Merrier

     

     

    By Sanjeev Kotnala

     

    Sanjeev KotnalaI believe in using multiple creatives to reiterate the message. It not only keeps the interest alive but also strongly makes the point. Multiple creatives are more effective when there is continuity, they are linked with a character or strong slogan, take the story forward or are humour based.

     

    In my last week’s article, I suggested using multiple creatives by banks and payment platforms to collectively address the issue of safe digital payments – an industry problem.

     

    Many brands have used multiple creatives to their advantage. A few examples are Rajasthan Tourism – Musicsthan, Janesthan and other series, Coca-Cola- Thanda Matlab Coca Cola, Amazon- Chonkpur ke cheetah, Aapni Dukhaan, Dinshaw’s- Wakao series, Voltas AC- Murthy series, Cred – celebrity series, Policy Bazar – 1 cr ka life insurance, AajTak-  the black and white series- Sabse Tez, Tata Sky – Chota recharge.

     

    In recent times, with the attention span of the audience dropping fast and the brands focussing on digital media more and more, the need for such linked multiple creatives (the shorter the better) reiterating the same message gets enhanced. As they depict different scenarios, the chances of them hitting home with relevant audience sub-segments are much higher. One finds humour-based multiple creatives to work better. As they are more engaging and involving.

     

    Amazon – Aaj kya Khareeda? #aajkyakhareeda

    Amazon uses Multiple Creatives in the campaign Toh Aaj Kya Khareeda. There are different product categories and relationships under play.

    Brother-sister– where the sister buys a deo for the brother and asks him to stop using her personal care product. Grandfather and Grandson– where the grandfather has purchased just batteries at Amazon. The neighbour – where the housewife shares the everyday items she ordered and even states the everyday things expected in the next delivery. Husband-wife – where the wife playfully suggests that she had ordered stuff for her husband.

    The creative strongly drives home the message: Whatever you need, from personal care to stationery, groceries to utensils, you get everything on Amazon! Roz ka samaan Amazon par. And there is a subliminal message that people use Amazon for the most minor things. Moreover, people are buying something daily that simultaneously speaks of trust and ease.

    I wish the brand went a bit quirkier and even showed things people don’t think they will get and buy on Amazon or things that amazon has now made easier to buy.

     

    CADBURY- KISI AUR KI KHUSHI

    As a brand, Cadbury has used Multiple Creatives to powerfully deliver a message and establish the brand’s Goodness, sharing, caring, and love elements. It even stands for saying Thank you – and now in participating in someone else’s happiness. The brand has multiple creatives exploring various situations. The newspaper Hawker and his client in house 302 test riding his new cycle. The employee gets an increment, and everyone celebrates. The lady opening a new parlour and the madam of the parlour where she used to work comes in as her first client to mark the occasion. And the one that I liked the most- the liftman video getting 10,000 views making him a social media star– and so the residents of the building comes to congratulate him. And the brand has also taken it to ground activation- celebrating the house help birthdays. The creatives are simple, dubbed into regional languages, and work equally well.

     

    TATA CAPITAL – QUICK PERSONAL HOME/BUSINESS AND LOANS AGAINST SECURITIES

    Tata, across brands, seems to acknowledge that you need to press a different nerve to tap different segments. To create relevance and impact, the segment must have a slice-of-life situation to relate to. And with the added touch of humour, the message could be delivered efficiently. Be it Tata Sky or Tata Tea, or Tata Capital, the format of a relatable problem is resolved efficiently and with a smile. In the case of Tata capital – QUICK LOAN is the message, and the promise of quickness is delivered digitally in situations with a smile. Be it for marriage, home, personal, education or business loan against securities.

     

     

     

     

    PIRAMAL FINANCE. HUM KAGAZ SE JYADA NEYAT DEKTEY HAI.

    An unbelievable promise in the loan market, but it had to be communicated well. Here are the two decent attempts- but I think they need to explore more and show different scenarios- strata- a business that can benefit from it. Including the family members and the actual situations is a nice touch for the Lohaar and the Home Loan ads. Though in this case, the ads are not that short but are short enough to keep the interest alive and engaged.

     

     

    NET-NET

    In the era of a short attention span, a series of Multiple creatives (the shorter, the better) reiterating the message can be more effective. It allows one to address different nuances of the same issue, thus making it more relevant to a broader audience. Try it out.

    It does not in any way suggest that a single communication exposed with the desired frequency will not work. As the choice will always be determined by the message and the category. I always suggest investing more in the creative process, even at the cost of compromising a bit of media weight. And in the current media scenario and audience interaction with media, I think multiple short creatives can deliver better results.

    …………….……………………………….

  • He moves to TBWA from Adfactors PR where he led digital-first integrated creative mandates with the company and helped scale up its digital practice

    TBWA appoinst Ranjeev Vij as MD

    By Our Staff

     

    TBWA\India has appointed Ranjeev Vij to the role of managing director, Nissan United 3.0 and Executive Director north, with immediate effect. In his new role, Vij will be tasked with further elevating the impact of the Nissan United team, along with “driving an ambitious growth strategy for the agency”. He moves to TBWA from Adfactors PR where he led digital-first integrated creative mandates with the company and helped scale up its digital practice.

     

    Speaking on Vij’s appointment, Govind Pandey, chief executive officer at TBWA\India said: “Having someone with Ranjeev’s unique blend of expertise in the intersection of consumer experience, technology, data, and design will only further accelerate our ambition to be the leader in total brand experience and disruptive thinking. We look forward to what will be a very exciting year for the team and the business.”

     

  • He joins BBH from TBWA\ India where he was Managing Partner – creative

    BBH India appoints Parixit Bhattacharya as CCO

    By Our Staff

     

    BBH India, part of the Publicis Group, has announced the appointment of Parixit Bhattacharya as Chief Creative Officer. He joins BBH from TBWA\ India where he was Managing Partner – creative.

     

    Speaking about the announcement Dheeraj Sinha, Chairman, BBH India said: “We are very excited to welcome Parixit as part of the BBH India leadership team. Parixit is a modern creative thinker and his work speaks for itself. His passion for delivering transformational work powered by creativity and his leadership skills made him perfect choice to take helm of the agency’s creative product. I look forward to working together and chart the next phase of BBH India’s success story, taking the BBH black sheep and zag philosophy to newer heights.”

     

    Speaking about his appointment, Bhattacharya added “I have pretty much manifested this gig. So, I will do my best and a half to build on the virtues of BBH India and add what’s needed to become a prolific creative company. I look forward to making a place of fun that creates objects of desire in all mediums relevant to our audiences and brands. I am incredibly energised to work with the incisive and purposeful Dheeraj (who also cracks me up every time I speak to him) and the rest of the leadership team made up of astute practitioners of advertising including the immensely wise Himanshu. I begin at BBH with love, reverence, and a sense of magic. Let’s go team!”