Tag: Preeti Vyas

  • Applause partner Amar Chitra Katha

    By Our Staff

     

    Applause Entertainment, the content studio from the Aditya Birla Group led by media veteran Sameer Nair, has announced a landmark partnership with Amar Chitra Katha.  As a part of this collaboration, Applause Entertainment has acquired the license to the Amar Chitra Katha catalogue, comprising 400+ titles which will be developed and produced into animated content.

     

    Speaking on the announcement, Nair said: “At Applause, we only strive to deliver the best in storytelling. Over the last four years, we have significantly pushed the envelope in curating and creating the most disruptive stories for Indian audiences that cut across genres and geographies. Amar Chitra Katha is a household name in India with a diverse and celebrated library which deserves to be retold. Like millions of other people, I have grown up reading these iconic comics and as a child, imagined them with dynamic visuals and dramatic sound and action. This is our opportunity to realize that dream. This partnership is also a small step towards helping export Indian culture by taking a unique and deep rooted cultural brand like Amar Chitra Katha to screens across the globe.”

     

    Added Preeti Vyas, President & CEO, Amar Chitra Katha: “At Amar Chitra Katha, we have been custodians of India’s stories for over 54 years, and we are thrilled to partner with Applause Entertainment to take our rich storytelling heritage to Indian and global audiences through animation. As the nation’s favourite storyteller, our mission has always been to provide Indian children a route to their roots and inspire in them a great sense of pride about India and being Indian. While we continue to keep our founder, Mr Anant Pai’s dream alive by telling new stories and creating fresh content in print and digital formats, we are also keen on presenting our iconic stories in an animated avatar. For this, we could not have hoped for a better partner than Applause. We are confident that Sameer Nair and his team, with their passion and superlative track record will do an amazing job adapting our stories to animation and providing the new and future generations of Indians a crucial link to our past.”

     

  • VGC refreshes Linen Club’s new brand identity and logo

    By A Correspondent

     

    Linen Club, the premium linen fabric brand from the Aditya Birla Group, has announced the launch of its new brand identity and logo. VGC has created and designed the logo.

     

    Said Satyaki Ghosh, CEO, Domestic Textiles (Grasim Industries) Aditya Birla Group: “With a strong legacy of over seven decades, Linen Club has finely crafted the story of linen in India. As we prepare ourselves for the future, we want the Linen Club brand identity to manifest our passion for linen combined with our heritage, our expertise and our authenticity. The new identity while staying true to the core values of Linen Club, gives it a credible and inspiring imagery. Join me in celebrating our passion for linen with the launch of our new logo and brand identity.”

     

    Added Preeti Vyas, Chairwoman and CCO, VGC the agency creating and designing the logo:

    “As I am personally passionate about Linen, it was an absolute delight when VGC was invited to rebrand Linen Club. Through the new logo we have brought alive the story of Linen’s European heritage, the legacy of the brand in India and the fabric’s authenticity in terms of its sustainable qualities. We then also translated it to a stylish visual narrative across a range of packaging and varied retail touchpoint,”

  • We are not answerable to an Excel sheet…

     

    Founded in 1997 by Preeti Vyas with the vision to transform the marketplace through strategic integrated iesign and innovative communication solutions, today Vyas Giannetti Creative is one of India’s better known consultancies, completing 20 successful years in the business earlier this week. Santosh Jangidmet the VGC Chairwoman and Chief Creative Officer to talk to her about VGC’s two-decade journey and the year ahead.

     

    Twenty years is a significant milestone. As you look back, some memorable moments?

    The journey has been very interesting. Completely unpredictable. So before we come to the 20-year journey there was another journey which led me to the twenty years. I have had a rather unique background. I come from the National Institute of Design (NID) and all of the culture it gives you, awareness it gives you, responsibilities as a designer. I graduated as a Visuals Communication Designer. I’ve moved into advertising and I’ve worked with some of the fabulous people in advertising. So the advertising community influenced me a lot and the way advertising things influenced me a lot as well as the entire NID culture and the inputs that I got from NID amalgamated into creating a rather different kind of a designer or communication personality. So with that in mind I said that there is no one place that I belong in, I need to have something which carry forwards my vision, my experiences into a completely different kind of a company and as a result one fine day I said let me start VGC. This was backed with a lot of confidence that I had because there were people out there who believed in me, believed in my work, believed in my creativity, believed in my vision and they were strong enough and opinionated enough to actually have me come and take their business. That’s how VGC started.

     

    Milestones, huge milestones. Can I count them today, honestly very difficult. we will have like a two-hour interview of I did that but we are gonna be doing is counting our milestones as we celebrate our 20-year journey but I do believe that milestones in the terms of the kind of people who helped me along my journey are innumerable team members who started out with being with me and eventually maybe moved out or they stayed with us but these people also brought in their way of thinking and the way they worked with me, the way they have actually furthered the vision of VGC was fantastic and of course there were fabulous clients. Sometimes we didn’t always agree with the clients but they made us see a perspective which perhaps  otherwise I wouldn’t have seen and some of the clients are still with us, they believe in us… some of the clients who gave us humongous opportunities because sometimes they believed in us more than we did in ourselves. So the kind of work we did was truly I believe because of the team we had, really fresh, intelligent and very very creative. Today, I have so many messages from people in India and around who say that they are really inspired by the VGC story because it’s a rather unique story. We are neither a square nor are we a circle, we are a company which has sort of evolved its own creative language, its own creative grammar and that’s what I think is our true DNA and that to me arriving so comfortably at your true DNA is perhaps the biggest milestone that you can hope for in this business.

     

    A turning point in these two decades from where  there has been no looking back?

    There has never been a turning back. It has been impossible for me to think that I will do this for two three years and I’ll go back to something else. That just never happened. We have gone through incredible difficulties, incredible successes, incredible downfalls but all of that we have come out of and we continue stronger, braver and perhaps even more creative.

     

    In a world where to be considered a player to contend with, you need to be part of a big network. How has it been being independent? 

    I really challenge this notion that you have to be a part of the big network in order to be recognised. I think VGC stands amongst the most respected agencies in the country and we have been ranked often enough among the Top 4 or 5and we are perhaps the only non-network agency which has been ranked in the top agencies by Economic Times and so on and I think the reason is that we are true to who we are. We are not diluting our positioning, we are not trying to be somebody else and above all we are not we are not really answerable to an Excel sheet. That has given us the strength and the freedom to be what we truly want to be, to evolve into what we truly should be evolving into. So does that mean that networks are bad? Of course not and I think that it’s an unfair comparison that network agencies, do we compare with them or not. Honestly it’s the work that compares. Are we doing work which is as good or as bad? I think we are doing great work and I think we are doing great work amongst the best which is available in the country.

     

    Since VGC is also into advertising, can you give us a breakup of your business`in terms of revenue and staffing?

    Today we are considered as a branding design and a communication consultancy. We are amongst the largest agencies in the country in terms of staffing. If that gives an indication of the kind of revenues we have and that could be anybody’s guess.

     

    A piece of work that VGC has done in these last twenty years that has given you maximum satisfaction?

    It is an unfair question because so much work gives me satisfaction personally and I can speak for my team that everybody in VGC endeavours to do that. Nobody in VGC is working towards an award. Everyday these kids come here including me. We all come here to do good work, to try to break boundaries first of all of our own limitations and then how do we make our work even better and that for me is a fabulous place to be in. So keeping that in mind it’s the work that we do which is fulfilling. Is there a single client that gives us continuously fulfilling work? No, but every client has given great opportunities to do fabulous work for them which we are proud of. Having said that, if you really insist that I give you one and only because of the longevity of it, Aditya Birla Group which has been with us now for over twenty years. In a sense, our relationship started even before VGC was formally formed, they have given us several opportunity. So that several opportunities of creating great and fulfilling work comes from one basket of one client, that’s Aditya Birla Group but having said that all of the clients rosters that we showcase we have done fabulous work for and the motto is lets do work that is creatively fulfilling for us. Personally for me if it doesn’t hit the mark, it doesn’t see the light of day.

     

    How do you see the year ahead for VGC?

    I think the year ahead for VGC is really exciting one. First of all, we are taking a year-long celebration course and we want everyone to join us. Other than that the message out there is that the people really appreciate the way we think, the way we work and increasingly from the kind of profile of people who want to come and work with us, people who want to give us business, it’s becoming very very interesting. The fabulous mix of business which are senior to start-ups and that’s a very exciting place for us to be in right now.

     

  • Sun shines on another refresh for ABG

     

    By Anuka Roy

     

    Change is the only constant. And, when the change is synonymous to continued growth and evolving oneself to suit the change, it is a very good indicator. The same logic holds true for brands. When it set up two decades ago, the Aditya Birla Group retained Preeti Vyas, Chairwoman and Chief Creative Officer at Vyas Giannetti Creative (VGC), to build its identity and logo. Earlier this week, the group and VGC unveiled the third logo developed. Vyas speaks about the need for the current refresh, her relationship with the group and much more. Excerpts from the interview:

     

    Two decades, the third identity and a second refresh. Speaks a lot for your relationship with the Aditya Birla Group

    I feel very privileged personally and professionally to be have been associated from the birth of the brand. When Kumar Mangalam Birla took over after his father passed away, he asked us to create a logo for him. We were very much part of the original branding journey, the strategy, research etc. and we stayed true to the journey in the sense that the group crossed so many milestones. We have stayed with them through the corporate communication, worked on so many opportunities and down the line, five years ago, we even had a refresh. One of the reasons why we had a refresh is that the group itself had become a superbrand. From not existing, it went on to become one of the more important brands in the country. In fact, it was seen as one of the architects of a new India. The group came on its own when the economy opened up and India had a very international outlook. Indians were becoming very significant consumers, the businesses actually added on to their portfolio of commodities… with consumer-facing businesses, telecom and fashion etc. When all of this happened, there were so many opportunities for the group to actually make sure that whatever it did, it was very committed to their vision and to the way it had structured the policies…  so it became a group of significance. And, the relationship which we had with them prior to the birth of the brand was also interesting because Kumar Mangalam Birla had reached out to me years ago when I was Creative Director of Trikaya Grey and he wanted some work to be done for something the Group was sponsoring. At that time his father was also alive, I had the privilege of meeting his father. So, the relationship actually goes back more than 25 years. Since then as the group expanded in terms of these different businesses, we have worked very closely with him and Pragnya Ram, Group Executive President, Corporate Communications and CSR who mentors the entire process. So, I was always the fronting sort of person of Vyas Giannetti Creative and they stayed true to us as we continued to deliver work for them.

     

    Talk us through the three identities that you developed, and what they have meant for the Aditya Birla group at each stage that it was conducted.

    When I was asked to do their logo first time, he said, I want to call it Aditya Birla Group and I want to herd all the companies under the umbrella of Aditya Birla Group. So, we said, fair enough, if Aditya is the name of the Group we should look at the meaning of Aditya, which is sun. Therefore, that is the origin of the logo inspired by the sun. If you look at the first logo, it had two semi-circles, one was an internal play and then there is an external play which as a group there are so many things happening within the group and externally we send out messages and then that in turn comes back.

    Here, I would like to say Kumar was very interested in keeping the legacy, it is a new entity  but as such the name itself has a lot of legacy and he wanted a certain sense of richness and legacy which is why if you see the first logo, it also had a richness of colours. It was a solar colour but also had textures; it was in a sense carrying forward a classic brand in to the future. So, that was the approach to the logo itself.

    Then as the group gained equity through whatever it did and became a Group of great worth, internally, there was a lot of call for new entities, new businesses… Aditya Birla itself. Aditya Birla as a name became very popular. Various companies like Grasim and Hindalco, existed before the Aditya Birla Group… they were all listed companies. Aditya Birla Group was an endorser brand which is why we had a strapline. It gained so much equity that in the second version of the logo, Aditya Birla Group was no longer a strapline. It became a very assertive and emphatic presence. The logo itself went through a colour refresh and a three-dimension was added to it. That was in a sense, a gradual change, it was not a jump. But it certainly was a small change for a brand but a giant change for a corporate entity.

    When that happened, soon thereafter, as the group was getting older it was talking to a much younger audience – the millennials, people who are looking for something more global, something they could relate to in terms of their profile of exposure that they had and as a result the feedback that Kumar was getting, was that, perhaps the logo needed to go through a change. The core values remain the same, the core principle of the sun remains the same, but could we make it more dynamic, could we do so without divorcing a core graphic in terms of colours and so on, could we just give it much more energy, power and youthfulness? Then we embarked on a new journey and what we have now is definitely a departure from the old logo but it is not a complete and absolute 180-degree change either. We still have the sun; we have an added element of the ascension form. So, there is a sun and there are the rays, there is an ascension form which gives it much more power and energy. That is the journey.

    What is interesting is that how many agencies around the world actually have this privilege- having seen three changes and being the corporate agency of one brand for two decades. It is of course a landmark moment for us as a company and it is quite heartening to see the change, the group actually rises so much in stature as well.

     

    A brand refresh exercise doesn’t come cheap and while the Aditya Birla group is known for its emphasis on excellence, surely it’s cost-conscious like any traditional Indian empire. How much does a design refresh and a change of logo mean to an industrial group?

    It is not just a commodities industry group. First of all, when we did this branding, it was largely a B2B business. But at that point in time, the only other company which went in for a professional branding exercise was the Tatas. The Tatas and Aditya Birla Group actually did their branding at the same time. When you go through a branding process, it creates great amount of equity not just for consumer-facing businesses but for all stakeholders, starting from your internal stakeholders, potential employees –  you will only grow on the strength of good people that you hire, it also means that you may want to align and associate with good people. When you are growing you are constantly creating associations, alliances and acquisitions, you always want to be in the consideration set. So, you need to make those branding investments.

    It is a myth to say that just because you are a B2B business. you do not need branding. Everybody needs branding. Having said that, the group itself went from being practically and entirely a B2B business to largely – if you see their profile now – a much bigger FMCG business than all of the FMCG businesses put together. They are the largest fashion retail brand in the country, one of the largest (and growing) telecom networks, in terms of cement, again huge… it is the number one player in the country. Just look at the amount of the consumer-facing interfaces – financial services, insurance, mutual funds- all of these things are actually consumer-facing. So, the group itself has transitioned itself in to the consumer-facing businesses. It has a mixed portfolio. It needs to be understood that all businesses require branding and as they evolve, it is often matched with the strategic requirement. It never is an aesthetic requirement. There is a strategic need to create a brand, it always enhances and helps in growing the equity of a company, which means it helps in the business plans of a company. A branding strategy properly executed actually is a business ally which is why people who embrace design are in fact smart business people like an Apple brand where design became intrinsic to the product itself.

     

    It is said if ‘it isn’t broke, why fix it’. Was it really necessary for the refresh to happen at each stage?

    When you find that the feedback you are getting from stakeholders is that you are looking at a company which has a slightly younger profile, more dynamic and global, so, therefore, although the group itself is transitioning, the logo perhaps has to keep pace with that. So, we made it to get a much more dynamic, energetic and a youthful sort-of feel to complement where the group itself is moving to and where its aspirations were. The change that we made would probably last for another decade. By which time things will be clearer about what might be a refresh, will there be an alteration or change – a radical one or a minimal one, all of these things will happen can be reviewed possibly a decade from today.

    All brands definitely need a review every five to seven years. There was a time when we said every 10 years but now everything has become for a shorter span.

     

    But isn’t it better to stick to the same logo given that it shows a certain sense of continuity?

    We have a lot of things which continue – there is a sun element, the warm solar colours are very much part of that. So, we have that. We have obviously from level one and level two, we have moved away because beyond a point, the old logo did not travel any further. Just as a graphic exercise, it would not go any further. We just needed to move to the next level of change.

     

    The Aditya Birla Group has now got a diverse range of activities – from the core businesses it was in to telecom, retail and fashion. Hence the identity needs to appeal to a diverse set of people, including millennials who may not have much loyalty to age-old brands and corporates. How does the new identity that you have created help connect the Group connect to these diverse stratas?

    For example, a lot of people did not know that Idea Cellular belonged to Aditya Birla Group. Once you have a corporate brand, individually there are companies and the relationship with the company branding is called the brand architecture. That has been designed, for example, if you take a cement product which is out there, you will find that this logo has transitioned in to that. If you walk in to an Idea retail place, Aditya Birla Group logo will also be there as an endorser. Go to a Pantaloons store, it will be there as well. When consumers walk in, they see the brand from whom they want to transact at the same time they know it is being endorsed by a larger entity. So, it gives a lot of confidence to the individual brand. The individual companies and brands are building their own equity. Aditya Birla Group as a brand is an umbrella which actually endorses all the activities and becomes a symbiotic relationship. For example, the equity gain from cement translates to a fashion brand and vice versa. Also, it translates in to corporate brand equity at a higher level. If you have seen all the advertising we have done for the group, it never really talks about products they make, because the group companies will talk about them. It takes the stature of a statesman. In terms of communication, it always talks about how this is an Indian multinational and how it is across various geographies. It does not tell you that we are in telecom or we are in this or that. It does, but in a manner which is a much larger landscape. That is why through all kinds of research that the group has done, it is seen as one of the most trusted brands of India. So, all of the right recall parameters and all the right boxes have been ticked for them… The group has done a lot of great things and of course the branding has been there to partner the group where the brand name is concerned.

     

  • IAA India Chapter hosts ‘Let’s Get Real’ seminar in Hyderabad

    By A Correspondent

     

    The India Chapter of the International Advertising Association conducted a knowledge seminar on Saturday, July 25 as part of the ‘Let’s Get Real’ series focusing on real estate advertising and marketing. The seminar was held at the Taj Deccan, Banjara Hills, 4pm onwards.

     

    Welcoming the audience, KRP Reddy, Marketing Director, Sakshi Media Group said, “Real estate is poised to achieve unprecedented growth and Brand Hyderabad is a new magnet for investors and real estate prices are seeing an upward surge.” Srinivasan K Swamy, President IAA India Chapter & Vice President, Development, IAA Asia Pacific mentioned “IAA believes that two verticals that need the support of professional agencies are the real estate and retail industries. Advertising and marketing agencies can help these mostly family-owned and -run businesses with outside thinking.”

     

    Starting the proceedings of the seminar, Sandip Patnaik, Managing Director, Jones Lang LaSalle said, “The last four-five months have seen a tremendous change in Hyderabad. The HR firm Mercer listed has Hyderabad as the best city in the country to live in.”

     

    Isaac Jacob, Professor, Somaiya Institute of Management Studies and Research spoke on marketing in the downturn. “What you should do is avoid gimmicks,” he advised. “Find out which marketing programmes work and which don’t. Focus on the benefits and advantages of your product.” Innovative advertising, humour and social media are a great help during a downturn, Prof Jacob added.

     

    Charulata Ravi Kumar, CEO, Razorfish India underscored the need to look at the digital media as a means to send the message. “Your rivals are not your only competitors, given the alternative options in the market place ” she said. She further added, “associating with other brands can add value to your brand. And don’t compromise on the content of your website. Look at the best websites even if they are not related to your business to get inspiration”.

     

    Preeti Vyas, Chairperson, Vyas Giannetti Creative spoke on the importance of branding of real estate projects. She provided examples on how to differentiate properties that are absolute premium, luxury and for the middle class.

     

    An engaging panel discussion moderated by Pradeep Dwivedi, Chief Marketing and Corporate Sales Officer, Dainik Bhaskar was held with P Dashrath Reddy, President, TREDAI; G Hari Babu, President, APREDA; Neeta Patel, Marketing Manager, Naman Group and Sonal Seth, luxury and experiential marketing specialist.

     

  • Prasoon Pandey to head film craft jury at Dubai Lynx

    Prasoon Pandey

    Senior ad film director Prasoon Pandey will head the Film Craft jury at the Dubai Lynx International Festival of Creativity to be held in Dubai from March 9 to 11. “Honestly, I’ve always found it unbelievably difficult – this business of dissecting the joy of great storytelling into its basic elements (such as Film Craft) in order to recognise and honour the geniuses behind it. It’s the umpteenth time that one is going to attempt to do so, but the bloody thing never ceases to intimidate me,” said Mr Pandey, whose Corcoise Films has produced some awardwinning work including Fevicol, The Times of India, Perfetti and SBI Life Insurance.

     

    Commenting on the jury line-up, Terry Savage, Chairman of Lions Festivals, says, “We’re delighted to complete the Dubai Lynx jury line-up for 2014 with this global collection of industry experts. We can be sure that these well-respected individuals will use their specialist knowledge to award and showcase the best of the region’s creativity. It will be fascinating to see which entries are deemed noteworthy by the judges at this year’s awards.”

     

    As reported earlier, Preeti Vyas (VGC) and Paresh Chaudhury (Madison) have also been invited to the Design and Public Relations juries respectively.

     

  • Preeti Vyas, Paresh Chaudhry on Dubai Lynx jury

    By A Correspondent

     

    The Dubai Lynx International Festival of Creativity, the leading festival and awards for the creative communications industry in the Middle East and North Africa, has released the first 28 names that will make up this year’s juries.  Organised by Lions Festivals, the same people who organize Cannes Lions and Spikes Asia, the Design Jury has named Preeti Vyas, Chairwoman, Vyas Gianetti Creative and the PR jury has Madison PR CEO Paresh Chaudhry as a member. The juries for Direct, Promo & Activation, Interactive and Mobile as well as Branded Content & Entertainment were also announced, but they did not have any representatives from India.

     

    Commenting on the jury, Philip Thomas, CEO of Lions Festivals said, “We’re delighted to have this global collection of specialists joining us and we are excited to see the creative benchmarks that are ultimately set as a result of their judging. We look forward to welcoming them all to Dubai in March.”

     

    Entries for Dubai Lynx (to be held from March 9 to 11) are open and submissions can be made through the website until 6 February. Further information on rates along with category information and rules can all be found at http://www.dubailynx.com/awards/how_to_enter.cfm.

     

  • Yes, the French do have designs on India!

    Students and guests at the formal unveiling of ecole intuit.lab last week

     

     

    By Shubhangi Mehta

    École intuit.lab is a design and visual communication French school cofounded in 2001 by Patrick Félices along with Clément Derock and Frederic Lalande.

    The aim of the school has been to produce high quality professionals whose profiles meet the specific needs of the graphic design and visual communication sectors in India, France and across the world. With the newly begun school in India, the syllabus has been especially skewed to meet the professional demands of the visual communications industry in India and to tap the potential that design holds in the country.

    The average fee across various courses is 3.5 lakh annually. The institute will provide the students with high class faculty,French graphic designers which will provide the students an edge over others.

    Mr Ravi Deshpande, co-founder, école intuit lab, India,said, “Over the last few years we have seen a massive talent dearth. I thought of being a part of the solution rather than being a part of the problem. The school has been established to cater to and encourage talented students.”

    École intuit.lab through its students have built solid relationships with over 800 companies in France and other countries.

    The setting up of top French design school, école intuit.lab in Mumbai is a step in the direction of the marked improvement that is required in the field of education related to graphic design, art and advertising.

    Mr Rajesh Kejriwal, founder, CEO, KYOORIUS, said, “India really needs such design institutes; the China government is planning to open 500 design institutions across the country, Indian government should also  try and do something similar as the existing and upcoming institutes are expensive and not everyone can afford them. Hence a lot of talent will still be left behind without opportunities.”

    Ms Preeti Vyas, Chairwoman, VGC, mentioned, “These institutes are extremely important. If we put 20 more such institutes in our country, it will still be a lesser number. The courses are expensive but the kind of inputs, technology and faculty that goes into such institutes, it is impossible to have a low cost institute for such courses until and unless it’s a government funded institute.”

    École intuit.lab has achieved success by incorporating professional exposure in the academic curriculum – a much needed position that has been so far vacant, in the design and art education milieu in India.

    École intuit.lab through its students have built solid relationships with over 800 companies in France and other countries. école intuit.lab’s excellent success rate in finding work placements for its students makes it a real standard setter in vocational training for the visual communications sector.