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Tag: Ogilvy & Mather India

  • Gets Ratna Pathak Shah and Seema Pahwa to celebrate KFC’s new Double Down Burger

    Ogilvy & Mather films for KFC

    By Our Staff

     

    KFC has launched a new campaign film for its Double Down Burger. The film is conceptualised by Ogilvy & Mather India and stars actors Ratna Pathak Shah  and Seema Pahwa.

     

    Said Moksh Chopra, Chief Marketing Officer, KFC India: “Who could understand chicken love better than us? And as the maker of the World’s Tastiest Chicken, we very gladly take on the onus of fulfilling as many chicken dreams of KFC fans as possible. With its all-chicken and no bun construct, the launch of the Double Down Burger is THE biggest event in the history of burgerkind. It was only befitting then that this ultimate burger be launched by none other than iconic actors Ratna Pathak Shah and Seema Pahwa. Their on-screen chemistry and the peculiar exchange over a chicken conversation is bound to leave you in splits. Of course, Colonel Sanders intervenes with the delectable Double Down Burger in his signature style with a rock band assuring – ‘Jo Chicken Ke Liye Hai Badtameez, Unke Liye Hai Yeh Special Cheez.’”

     

    Added Ritu Sharda, Chief Creative Officer, Ogilvy (North), “We all have that one badtameez friend who eats all the chicken from a dish and leaves the gravy or chawal for the rest. This film shows one such lovingly badtameez person and how KFC’s Double Down, being all chicken, is truly meant for those who are ‘chicken ke liye badtameez’.”

     

  • Close to 600 entries received from more than 70 agencies were judged from print, film, radio, OOH, direct mailers, digital and cyber categories

    11th edition of Pepper Creative Award to be hosted on 5th May

    By A Correspondent

     

    The Pepper Award 2017, organised by Pepper Creative Award Trust, will be held in Kochi on May 5 at 6.30 pm. The opening ceremony will be graced by Piyush Pandey, Executive Chairman and Creative Director, Ogilvy & Mather India and South Asia, accompanied by Rajiv Rao, National Creative Director, Ogilvy & Mather India and Prathap Suthan, Managing Partner and Chief Creative Officer, Bang In The Middle.

     

    Close to 600 entries received from more than 70 agencies were judged from print, film, radio, OOH, direct mailers, digital and cyber categories. From both open category and Kerala category, more than 130 metals and 15 finalists would be awarded.

     

    K S ‘Chax’ Chakravarthy, Suthanand  Santosh Padhi were the members of the jury for. The judging was held in Mumbai late last month.

    The awards are given in categories such as Agency of the Year Award, Advertiser of the Year, Special Jury Award, Press Campaign, TV Commercial, Outdoor, Radio, Interactive – Web-based, Digital, Cyber, Direct Mailer, Packaging, Logo Design, Unpublished works and Promos. The eleventh Edition of Pepper also has an exclusive section for participants from Kerala: Jewellery, Real Estate, Textile, Hospitality, Ayurveda and General.

     

  • Over the next few years the government is expected to spend over Rs.100 crore on this campaign that envisages rebranding Rajasthan Tourism including a new logo

    Rajasthan seeks to revive itself as hub for tourists; ropes in O&M for creative duties

    By A Correspondent

     

    The Rajasthan government announced a multi-year, multi-modal and multi-narrative domestic and international campaign that went live on January 15, 2016. Over the next few years the government is expected to spend over Rs.100 crore on this campaign that envisages rebranding Rajasthan Tourism including a new logo.

     

    Despite wide and deep attractions, the state’s lack of tourism marketing over the last 25 years has resulted in the state falling considerably in international tourism and domestic tourism arrivals because of aggressive efforts from other states. This is not only a missed international opportunity but a missed opportunity for economic growth because tourism is one of the largest generators of employment in the world. Tourism is not only employment intensive but capital efficient: it generates 78 jobs per million rupees of investment compared to 45 jobs per million rupees in the manufacturing sector.

     

    Shailendra Agarwal, Principal Secretary Tourism said: “Rajasthan has not conducted a tourism campaign for the last 25 years and this effort could attract at least 1 million incremental tourists with a considerable multiplier effect on growth and employment for our state.”

     

    The state has roped in Ogilvy & Mather as the creative agency. Ogilvy & Mather India has worked on tourism campaigns for Gujarat, MTDC, Madhya Pradesh, among others.

     

    Piyush Pandey

    Piyush Pandey, Executive Chairman & Creative Director, South Asia, Ogilvy & Mather said: “Rajasthan Tourism is the campaign I have been waiting for, for the last decade.  It is my home state and I think I owe it an impactful and effective campaign.  I am looking forward to the exciting times ahead.”

     

    The state government has also appointed a Steering Committee to monitor the creation and implementation of this campaign that includes Mira Mehrishi (Member Secretary Chief Ministers Advisory Council), Shailendra Agarwal (Principal Secretary Tourism), Malvika Singh (member Chief Ministers Advisory Council and Writer), Shoba Narayan (author and journalist), and Anil Chaplot, (Director tourism).

     

    The campaign is part of an overall plan for Rajasthan Tourism 3.0. Rajasthan Tourism 1.0 was from Independence till the early 80s whose engine was the state’s landscape. Rajasthan 2.0 began with heritage hotels and forts. Now Rajasthan Tourism 3.0 will combine assets from both phases with an aggressive marketing campaign, a new logo and packed experience calendar that is being developed.

     

    Besides annual literature festival in Jaipur in January and the Jodhpur RIFF festival at Jodhpur in October, the state hopes to build many new projects and events such as a Sacred Music Festival at Pushkar in November, an International Photography Festival, a World Music Festival, and much else. Amer near Jaipur has also become the first fort in India that has been specially lit for night viewing.  A new Contemporary Art Centre at the revamped Jawahar Kala Kendra in Jaipur is being curated by India’s leading contemporary artist Bharti Kher. A Dastakaar crafts venue with live demos at Parasramdwar will also go live later this year.

     

    The state government recently unveiled a tourism unit policy to attract investments and the Resurgent Rajasthan Investment Summit later this year will see the unveiling of a new tourism policy along with the new tourism campaign.

     

  • Ogilvy & Mather India has announced a new management structure. No, Piyush Pandey isn't going anywhere. Yes, he isn't. SN Rane will be there too

    Ogilvy India gets a new top deck of suits. Kunal Jeswani to be CEO

    By A Correspondent

     

    Ogilvy & Mather India has announced a new management structure. No, Piyush Pandey isn’t going anywhere. Yes, he isn’t. SN Rane will be there too.

     

    So what’s changing? Loads. But first read what Messrs Pandey and Rane have said in a statement:  “It is time that our very strong senior team joins us in all key management decisions of Ogilvy & Mather. Our clients should look forward to even greater impact from Ogilvy & Mather in the days ahead.”

     

    Effective March 1,2015, this is what the new structure will look like:

    :: Kunal Jeswani, currently Chief Digital Officer of Ogilvy India network, is promoted to CEO, Ogilvy & Mather India

    :: Hufrish Birdy, currently Exec Finance Director, Ogilvy India, is promoted to CFO, Ogilvy & Mather India
    :: Hephzibah Pathak, President – Advertising, Ogilvy India will assume a new role-Global Clients’ Director, Ogilvy & Mather India
    :: Kawal Shoor, earlier Head of Planning, Ogilvy India, has been promoted to National Planning Director-Ogilvy & Mather  India.

     

    Mr Shoor’s elevation had happened effective January 1. Meanwhile, the Board of Directors is also being expanded. Currently it comprises Piyush Pandey, SN Rane, Madhukar Sabnavis, Poran Malani, Hephzibah Pathak, Miles Young, Paul Heath, Paul Cocks and John Goodman. Kunal Jeswani  (CEO – India), Rajiv Rao (National Creative Director), Navin Talreja (President- Mumbai & Kolkata Geography Head) and Hufrish Birdy (CFO – India) will be Additional Directors.

     

    Ogilvy India has been CEO-less ever since Pratap Bose left the organisation in June 2008.  Mr Jeswani, a postgraduate in communications from MICA, started his career in advertising around two decades ago, joined Ogilvy in 2005 as Vice President-Client Servicing and has headed OgilvyOne Worldwide with the responsibility of managing Ogilvy’s digital business in India. Currently, he is Chief Digital Officer of the Ogilvy India group companies and he will retain this responsibility with his new role. He will report directly to the Chairmen’s office and will work in very close association with Geo/Discipline heads, Creative, Planning and business leaders. Last year, he was among the two captains of the crack Ogilvy group team appointed to orchestrate the BJP campaign.

     

  • The first TV commercial of the campaign, with 'Bijli Bachao, Desh Banao' tagline, was unveiled on December 14 to mark the national energy conservation day.

    Ogilvy & Mather powers government initiative to save 25,000 mw of electricity

    By Pritha Mitra Dasgupta

     

    The power ministry has launched a mega advertising campaign saying the country can save 25,000 MW of electricity every year by just being prudent. The first TV commercial of the campaign, with ‘Bijli Bachao, Desh Banao’ tagline, was unveiled on December 14 to mark the national energy conservation day.

     

    Piyush Pandey

    “This is part of a huge campaign which the ministry has planned and will be launched in phases,” said Piyush Pandey, executive chairman at Ogilvy & Mather India, which designed the campaign. The first leg of the campaign showcases school children as torchbearers of this initiative. The ministry has launched an on-ground school contact programme. The Bureau of Energy Efficiency hopes to register 1,000 schools on its portal in the next one year to will help spread the message.

     

    The power ministry recently roped in Pandey, Sam Balsara, CMD at Madison World, and Sunil Alagh, a marketing consultant, as part of its publicity committee. While the first leg of the ad campaign talks about saving domestic energy, the ministry has planned a separate campaign on how industries can save energy too.

     

    “The ministry will involve people from all walks of life to advocate the message as change of behaviour towards energy consumption and usage is the need of the day. I believe this campaign should go on even when we have saved enough power and energy,” said Pandey.

     

    Source:The Economic Times

    Copyright © 2014, Bennett, Coleman & Co. Ltd. All Rights Reserved

    Licensed to republish

     

  • Do the extra-long ads like the Pepsi and KitKat had around Diwali send the message better than the shorter ones?

    Do looooong ads work for brands?

     

    By Priyanka Nair & Mukta Lad

     

    3.33. 3.53. 4.40. 7.16. Before you shut this paper and run a mile, we will have you know that this isn’t a complicated math problem coming your way, but the durations of some of the ads you’ve been seeing of late. With our daily dose of listicles masquerading as news for our seriously short attention spans, one would think quick and easy fixes are the way to go.

     

    The world of advertising begs to differ, though, offering a paradox. A spate of really long ads are the not-so-new kids on the block, where brands are taking the liberty to take as long as seven minutes to narrate their mostly heartwarming stories, The year is seeing a lot of the films that take their time to tell the tale, both internationally and back home.

     

    Pepsi’s ‘Ghar wali Diwali’
    KitKat’s Diwali
    Kissan’s ‘Joy of Togetherness’
    Fortune Oil’s ‘Ghar ka Khaana’
    Google’s ‘Reunion’
    Tata Sky’s ‘PrisonBreak’

    Most recently, KitKat and Pepsi jumped on the Diwali bandwagon, and two much talked about long-format films were born. They are usually released online, making it an inexpensive medium to tell powerful stories. But with such ads clearly becoming a regular trend, we have to ask; are brands really justifying the length of their communication with stories that are compelling enough? And do they work?

     

    Piyush Pandey executive chairman and creative director, Ogilvy & Mather India and South Asia, the man behind Fortune Oil’s emotive four-minute ‘Ghar ka khaana’ ad, believes, “With long-format, your single responsibility is to the viewer. It’s like people who make movies. A viewer of a long-format ad has made the effort to click on your film. It’s not like he was sitting around watching something else and the ad came on. It’s your responsibility to make sure he feels rewarded after the time spent and says ‘I must share this with my friends.’ I am assuming as professionals we know that we have a responsibility to the brand.”

     

    For T Gangadhar, MD, MEC India, it was the advertising during FIFA that has lingered on in his mind, especially the riveting spots by Nike and Adidas. “The episodic treatment, the fleshing out of the idea, the execution was such that there would have been no other way to create them except through the medium of long-format,” he says, admitting that he really didn’t notice the amount of time he was investing in watching them.

     

    Globally, too, brands have asked their agencies to deep dive into this particular style of creative build up for some time now. From Johnnie Walker to Dove and many in between, several brands have tried and tested using this narrative style for some years now.

     

    Apart from Fortune Oil, KitKat, Pepsi, Google’s ‘Reunion’ and #PledgeToVote, Tata Sky+’s ‘Prison Break’ and Kissan’s ‘Joy of Togetherness’ are some of the Indian ads that went much beyond the proverbial 30 seconds.

     

    Narayan Devanathan, EVP and national planning director, Dentsu India Group thinks of this trend as a fad, though. “To me, this seems like the work of diva creative directors who want to cash in on lack of extra mediabuying costs, the freedom the internet offers as a medium and the fact that they might be able to wiggle out a few favours from the directors in the same budget,” he says bluntly.

     

    Perhaps brand managers are looking at creating these epics as a feather in their cap. But Devanathan and Gangadhar would rather brands didn’t make long-format ads a fashion statement, please. It is best if the idea defines how much time it needs to unfold, instead of the other way around. But is there a formula as to who should or shouldn’t leverage this medium? “Boring brands have gone ahead to create some interesting long format ads, while some interesting brands have put out some boring ones,” says Gautam Kiyawat, CEO, Madison Media, implying that anyone with a good story should go ahead. But what makes marketers give a green signal to agencies?

     

    Mayur Bhargav, general manager (Chocolate and Confectionery), Nestlé India mentions that his digital centre noticed that India’s successful Mars mission was generating a lot of positive discussions on social media. They went ahead to create the KitKat Diwali film, knowing that its topical nature rated it high on the shareable scale.

     

    Gangadhar, however, wasn’t too convinced by the film. “If the video is going to be longer than 30 seconds, then it needs to become more content and less ‘advertising’, especially for the internet, where brands aim at making content people would want to share. The KitKat Diwali film, to me, was quite ‘addy’ in that sense.”

     

    Senthil Kumar, JWT India’s NCD and Suresh Eriyat, director, Eeksaurus, the men who made the KitKat film, believe that there making these spots can be a challenge. “It’s easier to hide the imperfections in 30 seconds, but the long format tests almost every limit that creative guys know of,” Kumar reveals. Eriyat elaborates, “Unlike short format ads, the biggest challenge in a long format ad is losing objectivity.

     

    Another danger is that it can end up becoming boring and monotonous. I am of the opinion that if one sees the KitKat campaign out of the context of Diwali, it may seem irrelevant.” At the end of the day, what do consumers feel about these ads, really? Devanathan, donning his planner’s hat, mentions, “The Pepsi ‘Ghar wali Diwali’ film, to me, lacked Pepsi’s youthfulness and Kurkure’s wackiness.”

     

    But advertising and planning be damned, he says, considering consumers didn’t really care about the ad’s length or whether it had the brand’s values at the core. They were touched by the emotion and shared the ad nevertheless, making it a viral success.

     

    The long and short of storytelling on digital is that the canvas is yet to reach its creative tipping point, as brands are taking their own sweet time exploring the medium.

     

    Source:The Economic Times

    Copyright © 2014, Bennett, Coleman & Co. Ltd. All Rights Reserved

    Licensed to republish

     

  • The Piyush Goyal-led ministry has roped in Ogilvy & Mather India executive chairman Piyush Pandey, Madison World chairman and MD Sam Balsara and Sunil Alagh, a marketing consultant, for a compelling campaign around saving and efficient use of electricity

    Piyush Pandey, Sunil Alagh & Sam Balsara to contribute in government’s save-power drive

    By Mitul Thakkar & Pritha Mitra Dasgupta

     

    The power ministry is tapping the imagination of advertising gurus to hammer home the message that India can save 25,000MW of energy every year by being prudent.

     

    The Piyush Goyal-led ministry has roped in Ogilvy & Mather India executive chairman Piyush Pandey, Madison World chairman and MD Sam Balsara and Sunil Alagh, a marketing consultant, for a compelling campaign around saving and efficient use of electricity. “We are all helping the committee as individuals. We are now waiting for the brief,” Pandey said. “The idea is to bring awareness on saving power and ways of using power in the correct way.”

     

    Despite having an installed power generation capacity of over 250,000 MW, about 5% of India’s close to 600,000 villages remain deprived of electricity, while power supply in most rural areas is erratic, mainly due to high consumption in urban areas.

     

    Some experts say the government’s efforts to cut electricity wastage need to be supplement strategies to reach out to the industrial and agriculture sectors where energy conservation potential is estimated at over 23%.

     

    As per the ministry’s estimates, close to 25,000 MW of energy can be saved annually.

     

    The ministry, sources say, may rope in prominent faces as brand ambassadors to energise its “saving electricity” campaigns which, thus far, are perceived to have not achieved much. An efficient power sector tops the priority list of Narendra Modi, who as chief minister had turned around Gujarat’s utilities and showcased them as a development model.

     

    In its election manifesto earlier this year, the BJP promised uninterrupted power supply for all. Government agencies like the Bureau of Energy Efficiency have taken several steps to improve energy efficiency and promote power saving.

     

    Ogilvy’s sister agency, Soho Square and Madison, helped the BJP with its Lok Sabha poll campaign, which too was led by Union minister Piyush Goyal, Mr Pandey and Mr Balsara, and the trio continue to work on campaigns for state assembly elections. Asked if he is open to joining more committee’s within government, Pandey said, “I am open to helping out on any call. But I can’t spread myself too thin and then fail to deliver the work.”

     

    Meanwhile, there are talks that Mr Modi wants Mr Pandey to lead communications for both the government and the party. Although Pandey denied having received any such offer, several top executives at WPP said the offer includes maintaining agency relations and supervising government projects like ‘Swachh Bharat Abhiyan’, ‘Clean Ganga’ and ‘Jan Dhan Yojana’, among others.

     

    Source:The Economic Times

    Copyright © 2014, Bennett, Coleman & Co. Ltd. All Rights Reserved

    Licensed to republish

     

  • NCD Abhijit Avasthi calls it a day after a 15-year bonding with Ogilvy. Rajiv Rao will hold solo charge wef Dec 1

    Ogilvy’s ‘jod’ goes unstuck as Abhijit ‘Kinu’ Avasthi quits

     

    By A Correspondent

     

    It’s a bond one thought would last forever. For many years, Ogilvy & Mather India has been known for Piyush Pandey. So strong is the association with Pandey that the agency’s name could well be prefixed with a Pandey.

     

    But over the last five years, National Creative Directors Abhijit Avasthi and Rajiv Rao have come into their own and established themselves as creative gurus with their own standing, albeit a notch below Pandey.

     

    The news of Ogilvy India National Creative Director Abhijit Avasthi parting ways with the agency after working there a decade-and-a-half sent shockwaves in the industry. Confirming this development, Avasthi said he was mulling his next steps.  He said he was in discussions with Mr Pandey (coincidentally also his maternal uncle) for a few months.

     

    Last evening, Piyush Pandey, Executive Chairman & Creative Director, Ogilvy South Asia sent a mail to Ogilvy & Mather employees announcing the development. Rajiv Rao, who also shares the creative charge of the agency as National Creative Director (NCD), will be the sole NCD with effect from December 1.

     

    Mr Avasthi will be with the agency till November 30 and continue to be associated with small projects, Mr Pandey said in a mail. According to sources, Mr Avasthi is likely to set up his own creative agency, a move that he has been contemplating for a while. The outgoing NCD though is tightlipped about his plans and would talk about them when the time is right.

     

    A metallurgist by formal education, Kinu, as Avasthi is known in the fraternity, got into advertising after working in a steel plant, manufacturing textile dyes, trading in saris and even exporting playing cards and match-boxes. He started as a copywriter with Enterprise Nexus in 1997 and joined Ogilvy in July 1999. Other than winning several awards and being on the jury of many award shows, Avasthi has been several acclaimed advertising campaigns to his credit. These being for: Fevicol, Cadbury, Asian Paints, Google, Tata Sky, Bajaj, Centerfresh, Mentos and Unilever amongst others.

     

    Friends in Ogilvy, say that while he is a creative, Kinu has a sharp business mind and in his quiet, affable way can win over clients and make decent monies for his agency.

     

    Watch this space for more.

     

    Image: Part of a Fevicol ad was doctored to show a hand (Abhijit Avasthi’s) getting unstuck from that of Ogilvy’s

     

  • KS Chakravarthy (Chax), Vikram Gaikwad, Raj Kamble, Josy Paul, Bobby Pawar Arun Iyer, Malvika Mehra, Rahul Mathew and Ashish Chakravarty comprised the Envies jury

    Second edition of Ogilvy’s Envy Awards on Nov 3

    By A Correspondent

     

    It is not a jamboree of 150 judges who may or may not be capable of identifying the best ideas.” No marks for guessing who these words from Ogilvy South Asia Executive Chairman & Creative Director Piyush Pandey are directed at. Mr Pandey’s agency has stayed from participating in the last two editions of the Abby awards held at the annual Goafest conference. But that hasn’t prevented Ogilvy from participating in a slew of international shows and the homegrown Kyoorius Awards.

     

    And then there are the Envies, the in house creative awards of Ogilvy & Mather India whose second edition will happen on Tuesday, November 3. The evening will see awards handed out to 25 pieces of work from the entire body of work that Ogilvy India produces in a year. A jury comprising non-Ogilvy creative biggies poured over the entries. KS Chakravarthy (Chax), Vikram Gaikwad, Raj Kamble, Josy Paul, Bobby Pawar, Arun Iyer, Malvika Mehra, Rahul Mathew and Ashish Chakravarty comprised the jury.

     

    Said Mr Pandey in a statement: “The Envies are rewards where we raise the bar beyond any other standard in the industry. 25 best pieces of work are awarded regardless of category and media. There is no easy way out.  Stalwarts from the best creative team measure up against each other with the sole purpose to raise our standards so that we deliver even better to our clients in the year ahead. And these are truly unique because a set of the best minds from the industry judge the entire body of work together. It is not a jamboree of 150 judges who may or may not be capable of identifying the best ideas.”

     

    Hmmmm.

     

  • The new commercial with the fake superhero delivers this message in an entertaining manner

    Fevistik unveils campaign highlighting high brand recall attribute

    By A Correspondent

     

    Ogilvy & Mather India has unveiled a new campaign for glue stick brand Fevistik. The current commercial shows a fake hero trying hard to impress the shopkeeper by somersaulting his way into a stationery shop but ends up banging his head on the wall. After a series of failed stunts, he asks the shopkeeper for Fevistik. But, the shopkeeper gives him some other glue stick. He takes huge offense to being offered a duplicate and accepts only the original glue stick Fevistik from the shopkeeper.

     

    Abhijit Avasthi

    Abhijit Avasthi – National Creative Director, Ogilvy & Mather said, “The challenge before us was to make sure that people insist on buying only the original glue stick Fevistik from the shopkeeper and not fall for local imitations. And what better way to drive the point than showing that even duplicates reject the fake glue stick and demand only Fevistik. The new commercial with the fake superhero delivers this message in an entertaining manner.”

     

    Anil Jayaraj – Chief Marketing Officer, Pidilite Industries Limited added, “Fevistik is a market leader in glue stick category and enjoys significant top of the mind recall. It is the only glue stick brand which consumers remember and recall. The new communication aims at reiterating the same fact and encouraging consumers about making the right decision when it comes to choosing the glue stick. The communication also aims at educating consumers to be aware of look-alike products. We believe this new communication takes our brand ahead and stands out in an entertaining manner.”

     

  • The new campaign, devised by Ogilvy & Mather India urges the consumer to live from the heart

    Cadbury’s new TVC attempts to find ‘Joy in Snow’

    Cadbury Dairy Milk has been a part of the Indian collective consciousness for many years. In the years together, the brand and the consumer have both grown and evolved. Their relationship with each other has grown to a new level - in terms of fondness and intimacy. It is around such times that the brand can start talking beyond its functional, social or culturally contextualized role. Cadbury Dairy Milk has reached such a stage in its lifecycle with respect to the Indian audience, that it can be more nuanced in its communication and afford to get more personal with its audience.

     

    In this case the brand has chosen to make the consumer aware of the fact that life lies in the now; that joy resides in the act of letting go, and that one should live like no one’s watching. The new campaign, devised by Ogilvy & Mather India urges the consumer to live from the heart, and in essence, free the joy that is deep within all of us. The commercial is meant to dramatize the benefits of letting go and being your true self.

     

    The TV commercial shows a couple in a beautiful location on snowy mountains; despite the location being breath-taking in its beauty, the husband is almost insensitive to his surroundings and chooses to answer e-mails. The woman who is more in touch with her childlike inner self, provokes a snow fight with the man; the outcome of the fight is nothing short of pure joy. The film does an amazing job in illustrating how a little nudge in the right direction can actually help bring so much joy in one’s life and or open one’s life to pure joy.

     

    In the future, the brand aspires to be associated with ‘Joy’ in terms of philosophy as well as a product deliverable. Every move the brand makes will make movements in this direction. The good thing about this approach is that the brand already stands for the values it’s chosen to propagate.

     

  • Indian entries enjoy unprecedented success at D&AD Awards 2014

    India Shining @ D&AD global awards

    By A Correspondent

     

    Indian craft and creativity was recognised in a big way at this year’s D&AD Awards, with an incredible 25 Awards handed out to Indian entrants, with three of those in contention to win a Yellow Pencil as Nominated* work.

     

    In 2013, India achieved just two In Book Awards with no Nominated entries. Meanwhile, this year’s haul elevates India to a highly respectable 9th in the global table, further consolidating the Indian creative community’s burgeoning reputation on the international stage. While In-Book refers to work that will be included in the 52nd D&AD Annual which will be published in September 2014, Nominations refers to work that will be included in the D&AD Annual and is also being considered by the Jury for the award of a Yellow Pencil. The Yellow Pencil results will be announced at an event in London on 22 May 2014.

     

    Ogilvy & Mather India earned two Nominations in Graphic Design and Crafts for Design for its work with WWF India in addition to a further four In Books within Outdoor Advertising.

     

    At this stage (before the Yellow Pencils are awarded in May), McCann Erickson India is the most awarded agency from India, earning 10 In Book Awards and a Nomination in the White Pencil category for its Share My Dabba campaign for Happy Life Welfare, The Dabbawala Foundation.

     

    D&AD is partnering with Kyoorius to bring the awards with the same standards of judging and creativity. The awards are scheduled to happen on June 12 in Mumbai with the Call for Entries having been issued already.

     

    Tim Lindsay

    Said D&AD CEO Tim Lindsay: “Entries to D&AD have gone up over 10% this year, which is a reflection of D&AD’s increasing popularity in maturing creative markets like Brazil and China. The main theme we’re seeing this year is one of convergence: the lines between categories are becoming more and more blurred, which means ideas have to be smarter and the execution more pristine than ever. We’ve also seen a massive increase in smaller design studios entering – which I hope indicates the creative industries are in rude health at every level.”

     

    In total, 683 awards were handed out at the 2014 awards, up on the figure of 614 from the previous year. Globally at this stage (before the Yellow Pencils are awarded on May 22), Grey London has racked up the highest number of Awards with 19 (2 Nominations and 17 In Books).

     

    There has been a crop of Awards for Ogilvy&Mather Paris’s ‘Smarter People for Smarter Cities’, which took 13; Grey London’s ‘The Sunday Times Rich List’, which took 11 and Ogilvy & Mather Brazil’s ‘Real Beauty Sketches’, which took six.

     

    As a non-profit, all of D&AD’s surpluses go straight into programmes that develop the next generation of creative talent while campaigning for the creative industries to help solve the world’s toughest social and environmental issues. As has been reported earlier, the surpluses from the D&AD Award’s Indian avatar, will also be ploughed back to help the fraternity.