Amit Bapna and Shephali Bhatt

When IndiGo, the airline brand, launched in India a few years ago, it was flying into a cluttered multi-brand sky. To its credit, it had among other things, a distinctive design sensibility at all the touchpoints to create a cool and fresh brand. From the air-sickness bags wishing ‘get well soon’

to food packaging clad in fun-food commentary: air-wiches with easy to digest stories, street food in mock newspaper bags and an aviation-first —reusable cookie tins; the personal touch to every product couldn’t escape your eyes. The elements were in attendance across the airport including ramps, cargo trucks, passenger buses, almost everywhere, reinforcing the brand’s unique persona.

The Seattle based café chain Starbucks bets big on create hyper-localisation when it goes to different markets and yet the brand opts to keep a fair bit of the design standardised. The familiar elements include the green aprons, the call-out for the drink and the walk-through, the queue and of course, a spot to plug in a laptop or tablet, anywhere in the world, in the brand’s pursuit to create the third place beyond work and home.

But then there’s a local twist: each outlet is designed to create a familiar, extended living room. Shares Manmeet Vohra, director – marketing and category, Tata Starbucks Limited, “Every Starbucks store has a unique footprint celebrating local communities, culture, texture, color and craft.” And so traditional Kalamkari paintings adorn the

walls of the Chennai store. The flagship in Pune is filled with copper celebrating the relevance of the metal in the city. Reiterating our passion for coffee, each of the stores has beautiful depictions of the bean-to-cup coffee story engraved in different art forms and themes, adds Vohra.

David Seller, speaker at the recently concluded Kyoorius Designyatra and author of the bestseller ‘Do Good Design”had an interesting list of brands that have made design part of their core philosophy: “Google, Christianity, Red Cross,

Korea Inc.” He views India’s design quality as second to none. And that local design aligned to deeper cultural

roots ought to get its due instead of replicating European and American models.

The husband-wife duo Vivek Prabhakar and Shubhra Chadda often picked up souvenirs on travels abroad. They were struck by the dearth of affordable quality options in India, designed keeping a local connect in mind. Sensing a business opportunity, they launched Chumbak (Hindi for magnet), the India-inspired product design company

in 2010. The brand has become a great success, with no mass advertising at all, and a presence across the

country. It aims to clock ̀ 400 crores in the next three years and has already fuelled its global ambitions with a presence in over 75 stores in Japan. “Everyday India was our inspiration,” shares Prabhakar on the genesis of the brand.

In an entirely different category — beverages — Paper boat has a similar story. Hector Beverages created a distinct USP using design, both via traditional flavours like Aam Panna, Sattu, Kokum, Jaljeera etc. culled from century old recipes — as well as in the packaging.

If Looks Could...Continued on pg2

Design has long been associated with swathes of colour, exotic fonts and new logos. But marketers in India are finally waking up to its true, transformational business potential

DifferentBy Design

THE ECONOMIC TIMES, SEPTEMBER 24-30, 2014

Different By... Continued from Pg1

Paper boat’s packaging comprises of flat colours, simple shapes and a vocal pack language, designed by Pune-based Elephant. Views Neeraj Kakkar, CEO, Hector Beverages, “This has been a journey towards minimalist structure, only adding ingredients, graphics, elements or anything else to the extent it is required.” The brand is on an expansion spree and has attracted funding from the likes of Sequoia Capital, FootPrint Ventures and Catamaran Investment.

T h e c o m m o n e l e m e n t : a realisation of the importance of design as a strategic tool that manifests at all touch points as against using it as a last minute decorative element. And this extends to brands with a pedigree and legacy like Asian Paints and Godrej.

Affected by the lack of colour-c o n f i d e n c e a m o n g I n d i a n consumers, Asian Paints needed to get customers to experience colour in order to appreciate the potential that the brand delivered, shares Lucy Unger, managing director (South Asia) of the design firm Fitch. Hence the flagship store experience in Mumbai and Delhi, which have emerged as great destinations to touch and feel the brand.

The soaps to storewell behemoth Godrej launched several design-led products as well as used design to rejuvenate some of its slow growing categories. Hair colour brand Expert

and the bath care brand Cinthol were around for a while, design was deployed deeply to reconnect and up the sexiness quotient with an ever-evolving consumer. “People should feel proud of buying it off the counter or from a shopkeeper even if it were a `5 packaging,” shares Darshan Gandhi, vice president, GCPL design & innovation. Adds Sunil Kataria COO - sales, marketing & SAARC, Godrej Consumer Products, there has been a huge traction for the soap brand, with growth in the premium segment. Godrej counts itself as one of the first Indian companies, to have

realised the potential of design about five years ago. In the financial services space, Axis Bank is working on creating a new branch design to make the environment less office-like, shares Sagnik Ghosh, head - marketing, Axis Bank.

Design is becoming a boardroom issue in the far-sighted companies. Ashwini Deshpande, co-founder, director, Elephant makes a pertinent point. “Among all the companies that I have interacted with, those with “design aware” CEOs have stayed at the top of their game.” In most cases where CEOs were too busy to meet the designers, either the brands lost their game or CEOs lost their chairs, she adds.

Design can be the big USP for corporates and nations alike. Design-suaveness is a function of the prevailing ecosystem and the design sensibility of a nation. Countries like Thailand and Korea have got a design aesthetic that is far superior to India and permeates across the environment — from retail to public spaces and the rest. Thailand, for instance, having realised the potential and the importance of design for a predominantly tourism-led economy that it is, actually went ahead and formulated the Thailand Creative and Design Centre (TCDC) in 2004, first ever in Asia, to foster the country’s creativity and inspire innovative ideas among design professionals and entrepreneurs. And believe it or not, the endeavour

is a part of the Thai government’s attempt to build the country as a knowledge-based society. India with its immensely rich heritage could do well to take lessons to advance design aesthetics.

Adds Rajesh Kejriwal, founder CEO of Kyoorius: “The biggest user of design in the next 5 years could well be the Indian government, as it will look to design to help better define itself and become more accessible to the public.” Interesting thought, that.

amit.bapna@timesgroup.com

Ikea(by Ubi Bene)Be honest, now. How often do you give a billboard a sec-ond glance? Never is accu-rate. But you would find it im-possibly difficult to ignore Ikeas’s latest stunt. The giant billboard of an erect apartment floor, fully-furnished and nailed down by Ikea, of course, that doubles up as one strange rock climbing wall made us curious. So we checked in with two young adwalllahs to see if the bizarre instal-lation tickled their fancy

(L) Starbucks’ journey from Bean to Coffee depicted on the wall,(M) Interiors of the fl agship outlet in Mumbai

IndiGo’s customised air-travel kit: from cookies to air-sickness bags

Retailer Chumbak’s colourful Bengaluru outlet

It’s Alive! Cinthol’s transition from dull to ‘Awesome’

Paper boat makes slurping fun

Idea

Ankit AkhauriOOH, as a medium, has only 4 seconds to catch au-dience attention. A live bill-board does so with ease and style. Attention, though, doesn’t automatically translate into likeability or relevance. IKEA gets it right on all these counts but one: it’s not a terribly new concept or execution. Com-ing from the house of IKEA, that’s a letdown.

Parneet PurewalIn the realm of marketing activations it always pays to come up with ideas which generate eyeballs and word of mouth. In this context, this campaign delivers on the above and hence it’s a good idea.

Execution

AA:The execution is flawless in terms of art, colours and layout. The cleverness of creating a product display, so stun-ning, on a billboard is an aha moment. There is a clever use of space, so though there is a lot happening on the wall; it still looks part of a whole. Kudos!

PP: Coming from an activation industry my-self, I appreciate the planning which goes behind the execution of such an idea. The complexities and safety pre-caution further compound the final exe-cution. Hence, a job well done.

Gimmick or genuine innovation? And does it matter even if it’s a gimmick?AA: The idea is a genuine innovation in the sense that it is a brand work on a brief and not a scam. Genuine originality though is sadly missing!

PP:Innovations in activation are sometimes done as gimmicks. They go hand in hand. Similar seeds have been executed by other brands across the world.

How would you sell such an idea to an Indian client?

AA: I am not selling you a hoarding! It’s a unique product display window with scale and aesthetics that will create in-quisitiveness and recall. Live Billboard will allow us to highlight our target au-dience by putting few of them on it. Wackiness of the idea will bring posi-tive word of mouth on social media and free it of the geographical location of the execution.

PP:The terrain of activations has drastical-ly changed over the past few years. Clients look for innovation and ideas which generate word of mouth. End of the day— the idea sells.

Next time you spot an international ad you would like to recommend to a friend, tweet it out to @ETBrand-Equity and you just might get a mention in Brand Equity

Ankit AkhauriManager Brand CommunicationsDDB MudraMax - Experiential

Parneet PurewalClient Servicing Director, Candid Marketing

GOOGLE

After

Before

Every Starbucks store has a unique footprint celebrating local communities, culture, texture, colour and craft

MANMEET VOHRATATA STARBUCKS

We started out with India themed products. Everyday India was our inspiration

VIVEK PRABHAKAR & SHUBHRA CHADDA

CHUMBAK

If Looks Could Sell

THE ECONOMIC TIMES, SEPTEMBER 24-30, 2014 2

Delshad Irani

As the three of us sat around the table with espresso shots and enchiladas, I asked Prasoon Joshi, marketing services company McCann Worldgroup’s new chairman for Asia Pacific, why, despite having an enviable list of world cities to

pick from, he chose to stay in Mumbai? Joshi, who joined McCann in 2002, admits it would have been easy to opt for lifestyle in another place over the patent charms of the city. However, Harris Diamond, chairman and chief executive officer of McCann Worldgroup, who spoke with ET exclusively when he visited Mumbai to announce the promotion, promptly responds on Joshi’s behalf; “His wife would kill him if he chose to move!” Now, although one is inclined to believe Diamond, spousal disapproval, of course, is not the real reason Joshi continues to operate out of his current quarters.

The goal for brand McCann, according to Diamond, is to be the foremost marketing brand in the world and India. “As clients become more comfortable, budgets get larger, as investments in different marketing disciplines get more understood, you will see over the next couple of years our seeking to be in the forefront of some of those opportunities,” says Diamond. To that effect, two weeks ago, McCann, the biggest network in Interpublic’s fold, handed the office of chairman of McCann Worldgroup Asia Pacific to Joshi, which brings both Greater China and Australia under his purview. The latter has been consistently punching above its weight on the global creative stage. In fact, McCann Melbourne’s campaign for Metro Trains’ ‘Dumb Ways To Die’ was the most awarded campaign in the history of Cannes Lions, adland’s definitive award show. Joshi, the author, lyricist and creative mastermind behind ‘Thanda Matlab Coca-Cola’ and the Happydent ‘Palace’ campaigns, that made creative leaders, the likes of BMB’s founder Trevor Beattie, root for the work at the Lions like a personal cheer squad, was president of McCann Worldgroup South Asia and CEO of the agency’s Indian operations before the move up. So yes, Joshi will have to make certain alterations to his business cards. However, at least, the address line stays untouched. After all, there’s no place like home. Never mind a few bumps on the yellow brick road.

It’s, of course, part of the rumblings of major change and more aggression at McCann, which has been brought back on track according to industry watchers under the leadership of Diamond, a straight-shooting New Yorker with a famous (pardon my French) no-bullshit approach to work. Diamond is, in fact, an old IPG-hand who used to head the holding company’s PR shop Weber Shandwick. In August, the agency which works with Coca-Cola in over 50 global markets, won back Coke’s China business after losing it to Leo Burnet in 2007. And in bigger and better news for the agency, earlier this year, it won Microsoft’s global account. Obviously, these international wins will have implications for McCann in India. Diamond says, “It would be foolish on our part to not recognise that India, given the growth opportunities and potential in this market,

shouldn’t have the focus of a leader like Prasoon. We are seeing additional work from our current clients here, and new work like Dettol joining the family of companies we work on.”

Joshi’s promotion pushes the India office many inches closer to the centre of McCann’s global operations, and strengthens its standing in the network no doubt. Furthermore, Diamond says, in the near future, there will be significant investments to expand the scope of their services and regional presence, with particular focus on Momentum, McCann’s experiential arm, and McCann Bengaluru. A global hub for McCann’s production unit Craft is already operational and will adapt more and more work for the network’s global offices and clients. And McCann India’s top management, the likes of its Mumbai and Delhi presidents Govind Pandey and Sanjay Nayak will see their roles expanding soon.

When we ask Diamond what he expects of the leadership, he says, “When you are dealing with a person who has already been awarded as much as Prasoon you can’t say you want more awards. That sounds silly. What you can say and expect is that the people who work for us learn and understand how to become the next creative. Too soon to write his obit though,” he jokes. On a serious note, “At the end of the day what we are looking for is the continued evolution of our creative team. We need somebody who can bring all our services from digital and PR to experiential and shopper marketing, together behind one idea. It’s a multi-platform world and we want to make sure the client is getting the best strategic and creative approach to the business. That’s what the job entails.”

delshad.irani@timesgroup.com

“Everything That Can Be Digital, Will Be Digital” That’s what Peter Kim, chief digital officer of Cheil Worldwide believes. So are we going to do all our shopping online and bide our time till the drones ship our purchases home? Don’t hold your breath, just yet

McCann Worldgroup’s boss Harris Diamond tells us how he’s putting the agency’s Indian ops in the global spotlight

Rajiv Singh

What interesting digital trends have you noticed globally?There are six big trends. However, there are three macro ones that we need to take note of.

First, we are moving from presentation to participation. This has been happening for a while from TV to internet. Our global culture has also driven this idea that we should not only be interactive but also participative i.e. individuals should take the centrestage.

The second trend is that there is more infor-mation available. So now people are asking for meaning, they want filters to ensure it’s not information overload and they get mean-ing from all this data.

The third macro trend is always on in real time. Now brands have brought real-time marketing to the forefront, and this is some-thing that was missing before. So now there is this expectation of being always on and that too in real time from brands in terms of how they interact with users.

So do these three macro trends set the stage for the six big trends that you were talking about?Absolutely. The first is that brands are back in the driver’s seat. Earlier on in social media, there was a lot of talk about consumers being in control. Lots of pundits were saying that brands are at the mercy of consumers. But soon all these social media sites had to go for IPOs. They had to monetise and after that we are seeing brands with big budgets become a priority again and regain control. For exam-

ple, the Samsung big selfie at the Oscars last year, which was part of the paid campaign.

The second trend is that everything is shop-pable. Everything from Instagram to Pinter-est, Twitter, Facebook, YouTube is directing consumers to buy online. We are seeing the trend of jumping directly from awareness to purchase. There are US retail brands like Tar-get that have made Instagram shoppable to make more money.

The old saying that a picture is worth more than a thousand words is the third trend that we are witnessing. People are reading less and the art of writing a well-crafted column is become rare. Even in social media, we are see-ing a shift from blog posts to Facebook notes to the 140-character Twitter post to emoji. This evolution shows that images are becom-ing much more powerful. Brands need to tell their stories in images now.

The fourth trend is that data is driving mass personalisation. Big data has been talked about a lot. In fact, a lot of people would say that they are sick of hearing about it! But there are very few brands that have really capitalised on what it can do for them in terms of shopping and brand experience.

The fifth trend is interconnected things. We have heard a lot about its potential but it’s now that we are actually witnessing it with brands getting aligned. In fact, we are really set to see an explosion of interconnected things and a connected ecosystem.

The last trend is the sharing economy. Noth-ing new about this, but with an advancement of technology now we see a resurgence of business models based on sharing economy.

So, brands have to figure out how to play among these six digital trends and it may de-pend on the product line or the country in which you operate in.

So, which brands are making the most of these digital trends and transformation? The first has to be Samsung and it’s a natural fit. The handheld device is at the centre of digital transformation. Then there are con-sumer brands that are doing a great job. Coca-Cola has done a lot of work in terms of brand marketing. P&G were one of the early market-ers to understand that brands had to shift budget from TV to digital to social. Then there are brands in the luxury space like Burberry and auto manufacturers like Ford.

Is digital transformation happening in India?Absolutely. If you look at top 25 countries in terms of broadband penetration, South Korea tops the chart and then there are countries with more than 50% broadband penetration. India, I believe, is lower than 50%. So it’s still happening. And once penetration gets high, new business models, new interactive models can come up.

Any Indian brand that has fascinated you with its speed of digital adaptation?I have seen some international brands like Nes-tle, P&G and Reckitt Benckiser that have a pres-ence here adopting some of their global tactics.

Is TV still important? It indeed is, not only in India but also in the US. Ten years ago, many people said ‘TV is dead.’ Today, the average price of a Superbowl TV ad is astronomical. Like $4-5 million for 30 seconds! So, TV hasn’t died. And smart mar-keters have realised that it more important than ever to integrate across the mix.

rajiv.singh@timesgroup.com

McCann’s New Frontier

Even though it was hard for Diamond to pick some of McCann’s best work, here’s his selection from some the agency’s most honored, celebrated and awarded campaigns over the past two years.

Coca-Cola, Brazil: McCann and Momentum brought snow and winter cheer to a village that had never experienced a White Christmas

Share My Dabba, India:An initiative by McCann, Happy Life Welfare and the Dabbawalla Foundation to beat hunger on Mumbai streets by setting aside part of your lunch for children who don’t get one decent meal in a day.

Melbourne Metro Trains, Australia: There’s hardly a soul in this world who hasn’t encountered McCann’s very own version of Monsters Inc and its ‘Dumb Ways To Die’.

Nescafe, India: The latest video for the beverage brand features the bitter sweet experiences of a stand-up comedian with a stammer.

Rom, Romania:With ‘Bucharest, Not Budapest’ chocolate brand Rom came up with an original way to give some folk a lesson in geography.

ASHWANI NAGPAL

PHOTOS: BHARAT CHANDA

Life In The Fast LaneAllow us to indulge you in a classic Bol-lywood flashback. Remember Sholay’s ‘sarkaar maine aapka namak khaya hai’ sequence. It’s interesting how two agencies’ fates have been intertwined to a similar situation. The first protagonist in the current version of the ‘ab goli kha’ scene is a small shop whose key retainer is a nouveau riche e-commerce player now gone rogue. Or let’s just say, they want to try a new partner since fidelity wasn’t a part of the prenuptial agreement. Fair enough. Taking the plot

to a whole new level of complexity is the agency set to add them. Apparently, it is on the verge of losing a longstand-ing youth centric brand. The trickle, say our moles, has started in the form of projects to an independent turned net-work agency. Our moles believe it’s only a matter of time before the account moves on entirely. You win some, you lose some.

Abki Baar…Kaun?And speaking of sarkar and namak,we hear agencies of all shapes, sizes and stripes are queuing up outside government offices in Delhi in antici-pation of a big project up for grabs. Obviously the Modi government’s pas-sion for advertising has not been slaked yet.

Got any funny emails floating around your office? Seen a scam in someone’s portfolio? Send them to us at bawdy.copy@timesgroup.com.We’ll dish all the dirt you dish to us...

THE ECONOMIC TIMES, SEPTEMBER 24-30, 2014 3

Priyanka Nair

Why art?I think most people who end up in supposedly ‘creative’ professions do need to have some aptitude for it. It’s a given. In my case, I started winning prizes in drawing compe-titions from standard six and then there was no looking back. I started getting popular for my art work which gave me immense confi-dence. I managed to put together my first ever drawing group exhibition in 10th standard and that’s when I realised that art was definitely my calling.

Why advertising?It was a strange start but I nurtured my interest in advertising, working as an ap-prentice at my father’s shop. It was a small general store in Anushakti Nagar, Mumbai. We got out of it long ago but les-sons learnt there were worth it. Without really being self-aware, I was interacting and convincing consumers at the age of 11.

Another curious thing was my obses-sion with colour supplements from newspapers in the shop. The colour sup-plement of choice in those days was Sat-urday Times. With great care, I used to separate those from the bundle of other supplements. My fa-ther was often left puzzled seeing me do this.

He was also against my decision to join art school. In his naiveté, he had as-sumed I was going to end up painting banners.

Honestly, even I didn’t re-ally know where I’d be after finishing my course. It was only when I was out of col-lege, that I finally decided that advertis-ing is what I want to take up.

Your iInspirations in and out of advertising: My biggest inspiration is my guru, the late Professor R K Joshi who I worked very closely with for almost a decade. Eve-ry moment that I spent with him working on type design and other typographic pro-jects were moments well-spent.

Those experiences made me imbibe an understanding of typography at a subcon-scious level. And then of course, there was the Mohammed Khan school of advertis-ing which meant that every aspect of craft got its time in the sun, be it copy, illustra-tion, typography, photography or art di-rection. He was a mentor like no other.

Is there a conflict be-tween ‘regular’ and more artistically sat-isfying work?As artists in commercial art I don’t think we are al-lowed to forget the fact that we work for a purpose. How one balances the world of commerce with the purist’s

view is an art in itself. There is nothing more satisfying than artistically chal-lenging work, which is also relevant, and on the brief.

How often do you get to do something that challenges you as an artist?Often challenges present themselves in the form of a deadline, a budget and the inadequacy of back-up talent. When you have an idea, you have already started visualising the ad or the commercial in your mind. It is when one gets into execu-tion, that holy grail of all compromises, that the challenges rear their heads. I would be lying if I said I get something challenging to work on 365 days a year. That’s not possible. But an artistic chal-lenge is also about what you make of some of the briefs that come to you.

Do you try to add to the art quotient in whatever it is that you do? How can one not? Isn’t that what we are born and trained to do? And why limit it to advertising alone? It’s in the room one de-signs for one’s self, the way one contrib-utes to one’s surroundings; every aspect of life calls for the art quotient. The streets of Europe are beautiful for a reason. It is because the culture has consciously made way to accommodate art in every aspect of life. And if one calls himself creative and an artist to begin with, then adding that quotient in everything you do is not just a privilege but a responsibility.

What is the scope for an artist in a world going digital? Huge! It’s a relatively new medium and one that is crying out for the exploration of its boundaries. There are no set limits. In a connected world we see tons of ideas everyday and one idea has the power to trigger so many more. This is a very excit-ing time to be for an artist. Make no mis-take about that.

priyanka.nair@timesinternet.in

(This story is a part of our series that features some of the real ‘art’ talents of

Indian advertising)

“My father thought I am going to end up painting banners”

Vikram Gaikwad, co-founder of Creativeland Asia and more

recently Underdog shares his story as an artist in advertising and

thoughts on the challenges of being a part of this business in a

conversation with BE

The BEst BEkaar survey is conducted by Ipsos, with ads sourced from TV Ad Indx The survey is conducted every

week across 6 key cities in India covering 200 respondents in total.

BEST

Quick, what were the best and the worst ads of the last week? Relax, and

let our panel do all the thinking and voting. Presenting another round of

Best-Bekaar

BEKAAR

FreechargeAn ad with a series of hilarious putdowns aimed at a mostly invisible protagonist for their mammoth spending binges. Our favourite line is probably “Tumharey papa ka naam Bambani hai; Ambani nahin.” It all leads to an app that promises some sort of swag for recharge cash deal. We guess our panel got so irate at all the rage coming their way, they slapped a

Bekaar right back at the ad.

Bank of IndiaRemember the Bollywood movie Hum Saath Saath Hain? Based on the ups and downs of a big fat Indian family, its combination of high melodrama and saccharine sequences nearly caused the audience to keel over from an emotional overdose. The Bank of India commercial for better or worse gave us a HSSH flashback. The commercial showcases a family conversation around the ambition of owning a house. A surprise element unfolds when the host of the get together declares that he has bought the house and it could happen only because BOI’s home loan. Touché. All fine and dandy until the lady of the house shouts the line, “Kishto se rishta jodo, kiraya toh paraya hota hai.” A facepalm moment that probably made our panel declare the ad

Bekaar.

SunsilkTypically hair care products feature sullen models or domestic set ups. However, Sunsilk’s conditioner range has a different take. The latest ad from the brand is an attempt to break the cliché that women take hours on end to get ready. The film showcases an optimistic television reporter making her way through heavy city traffic to reach an assignment, with not a hair out of place. This sight predictably enough, strikes a male colleague with awe. Surprised? We are sure you are not but isn’t it better than the same old mother daughter beauty saga? Our panel gives this ad a thumbs up.

BruThere’s a lot more brewing than just a warm cuppa in this ad about a boy girl duo who go through unusually convoluted methods to show their affection for each other. He keeps the coffee on an unusually high shelf and then because stools and chairs presumably haven’t yet been invented or are unaffordable, lifts her so she can get the pack down. We think this errs on the side

of sappy but our panel lap it up.

THE ECONOMIC TIMES, SEPTEMBER 24-30, 2014 4

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