afr january 16-36, 2016 - images.assettype.com · star power why ranveer singh trusts this digital...
TRANSCRIPT
18
Shaadi.com’s CEO on the threat from dating sites.
POINTS OF VIEWOf Zomato and GrofersWhat is wrong with these segments?
16
PATRIKA GROUPStar PowerWhy Ranveer Singh trusts this digital news site.
24
PAPERBOATNew Beginnings 6
THINKSTR On a New Trail 10
BROOKE BOND RED LABELStar Power 24
THE PRINTEventful Start 26
INTERVIEW
27
Patanjali’s stunning rise and popularity have created consternation in competitors’ camps.
Gourav Rakshit
`100January 16-31, 2016 Volume 4, Issue 15
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Volume 4, Issue 15This fortnight...EDITOR
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PUBLISHER Prasanna Singh
EXECUTIVE EDITOR Ashwini Gangal
SENIOR LAYOUT ARTISTVinay Dominic
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Cover Photograph Abhinav Suyal
Rai and Senthil Kumar of J. Walter Thompson in a chat.
POVOnline ContentWill Netflix change the way India consumes content online?
22
Emerging entrepreneurs in the limelight.
20
26Inspied by Balika Vadhu, this is a first for Hindi GECs.
Is this the best way to end a hard day’s work?
COLORSReliving Childhood
BOURNVILLEThe Perfect Treat
BIBA
Progressive TakeIts new digital ad challenges societal norms on arranged marriages.
A few fortnights back, we ran a Cover Story that raised the question – Post
controversy, will Maggi bounce back? This time around, we’re shining the
spotlight on a brand that, incidentally, markets instant noodles, along with several
other food and FMCG products, and are asking a converse question – Can Patanjali
Ayurved sustain its unprecedented success?
The story attempts to answer two more questions – In which product categories will
Patanjali have a natural – no pun intended – advantage? Which existing companies
in these segments will Patanjali threaten? Colgate and Dabur are expected to be
impacted the most, say experts. HUL’s acquisition of herbal hair oil brand Indulekha
and Emami’s acquisition of Ayurvedic hair care brand Kesh King are deemed reactive
moves. All around, companies are ramping up their natural/herbal/Ayurvedic product
portfolios.
What’s truly fascinating is the amount of anecdotal evidence around the popularity of
Patanjali. Just try asking your colleagues and friends; odds are, one in every three either
uses/consumes these products, or knows someone who does. Of course, the numbers are
there too.
The brand’s 2014-15 revenue crossed `2,000 crore. Whether it’s word of mouth
publicity, price under-cutting or the sheer pull of yoga guru and brand ambassador Baba
Ramdev that got the brand this far, the absence of a mass media presence, until recently,
is truly remarkable.
Now, with this relatively new, deadly weapon in his arsenal, 2016 sure looks bright
for Baba Ramdev, who, interestingly enough, has no stake in Patanjali. According to
research and brokerage firm Credit Lyonnais Securities Asia, while over 90 per cent of
the stake is held by Acharya Balkrishna, chairman of the company, the rest is held by
a Scotland-based NRI couple, Sarwan and Sunita Podar.
As news reports about venture capital and private equity firms’ growing interest in
the brand do the rounds, Patanjali is busy focusing on its prime time television presence,
through ad spots and show sponsorships.
18
Shaadi.com’s CEO on the threat from dating sites.
POINTS OF VIEWOf Zomato and GrofersWhat is wrong with these segments?
16
PATRIKA GROUPStar PowerWhy Ranveer Singh trusts this digital news site.
24
PAPERBOATNew Beginnings 6
THINKSTR On a New Trail 10
BROOKE BOND RED LABELStar Power 24
THE PRINTEventful Start 26
INTERVIEW
27
Patanjali’s stunning rise and popularity have created consternation in competitors’ camps.
Gourav Rakshit
`100January 16-31, 2016 Volume 4, Issue 15
CONTENTS
Ashwini [email protected]
5afaqs! Reporter, January 16-31, 2 0 1 6
2310INTERVIEWTarun Rai
25
INDIA MARTSuccess Stories
For Paperboat, the home-grown ethnic-flavoured brand of drinks, advertising always rode on childhood memories. The brand has
rolled out a powerful campaign, setting the tone for 2016 along with 14 start-up friends.
The video, which has been executed by Lowe Lintas Bangalore, features Paperboat, along with the start-ups, with the iconic song Hum honge kamyab playing in the background.
The campaign features leading players such as Hari Nair (HolidayIQ), Tanmay Bhat (All India Bakchod), Shaheen Mistri (Teach for India), Sumit Jain (Common Floor), and Amuleek Singh Bijral (Chai Point) in the start-up space, with the focus on the venture’s core idealogy.
Sung by Bollywood singer Sunidhi Chauhan, the track is dubbed as the ‘Song of Hope, an anthem or a call for 2016’. Uploaded on YouTube and Facebook on December 31, 2015, the video has garnered over one million and 9.09 lakhs views respectively, on both platforms.
Speaking about the unique initiative, Neeraj Kakkar, co-founder and CEO, Hector Beverages, says that when they decided to make this film, the only constant thing in his heart was the song.
“I have grown up listening to this song. We
wanted to start the year with positivity and good vibes. And to top it all, our dear friends are a part of this positivity,” says Kakkar.
Kakkar believes that his company and the other ventures featured in the video sail in the same boat. According to him, it’s a ‘start-up conglomerate’ where one experiences the same barriers, struggles and joys.
“It was difficult for us to choose 14 companies, and even more difficult to shoot this film with them in one week. If we had the luxury of time, we would have been able to feature all our dear friends,” he smiles.
According to Kakkar, 2015 was an eventful year with the launch of the company’s second plant in Mysore. It also rolled out its first-ever TV campaign, as well as partnered with Indo Nissin Foods as its up-country distributors. The company raised Series C funding in July and launched a full-fledged campaign to announce the launch of the Anar (pomegranate) flavour.
Kakkar adds that in 2016, the recipes will be improved upon and new drinks will be introduced.
Rajesh Ramaswamy, executive creative director, Lowe Lintas Bangalore, says, “When Paperboat first told us about its desire to make this film, we were like wow, who thinks like this? But then, that is Paperboat. They’ve always taught us how to think from the heart. We partnered with director Joyeeta Patpatia, who too, thinks from the heart. Here’s to a new India that thinks and dreams beautifully.”
Rajiv Dingra, founder and CEO, WATConsult, finds the film a leadership attempt by the brand Paperboat, and feels it is elite and evolved.
“The concept and execution are nice, but it lacks mass appeal. If the brand’s objective was to build thought leadership, take a higher ground and leverage the start-up community, it has achieved that,” he says.
Dingra believes that the impact of this video will largely be limited to the internet intellectuals.
Meanwhile, Kartik Iyer, CEO and co-founder, Happy Creative Services, give a thumbs up to the film. He feels that it is an inspiring and campaign of a higher order.
Iyer believes that such films tend to create higher recall value as they do not just promote a product or service. In his opinion, some of the best campaigns of 2015 were designed on similar lines, such as Dabur Vatika’s Brave is beautiful, Myntra’s lesbian campaign, or the Red Label ad featuring a young couple in a live-in relationship.
PAPERBOAT
Giving a unique twist to its New Year campaign, Paperboat wishes for a better and bigger 2016, along with leading start-up players. By Saumya Tewari
New Beginnings
“It was difficult for us to choose
14 companies, and even more difficult to shoot with them
in one week.” NEERAJ KAKKAR
“Paperboat taught us how to think from the heart.
We feel special to be a part of this
beautiful tribute.”RAJESH RAMASWAMY
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COMING SOON
Mondelez India, in its new campaign, has re-introduced Cadbury
Bournville as an end-of-the-day treat. Titled ‘The perfect way to end the day’, the ad shows how a person, on his return from the office, shuts out the world as he enjoys Bournville.
The campaign was launched digitally on December 11 and was followed by a TVC which will be promoted in the first quarter of this year. It will be further supported by extensive sampling and outdoor and digital advertising.
The aim of the campaign is to reach out to the brand’s core target
audience of the urban affluent in the age group 25-35 years. Conceptualised and created by Ogilvy India, the objective of the video is to reposition Bournville as an end-of-the-day treat.
“Through this ad, we are trying to project the dark chocolate as a product which is to be consumed at the day’s end,” says Neville Shah, director, Ogilvy India.
According to Shah, the company has always treated Bournville as a premium product, something that is not for the masses. “It is more of a product which relaxes the mind and the body after a hard
day at work. It can be compared to something that calms you down, like wine, for instance. Moreover, the international cast gives it a global feel, an aspirational kick,” says Shah.
“Being a dark chocolate, it makes for a great solo consumption story. One that can slow things down and give consumers their ‘me-time’ when it’s most needed,” he adds.
Along with the positioning, there has also been a change in the product packaging. The dark chocolate now comes in three new variants -- Rich cocoa, Raisin and nut, and Cranberry.
Commenting on the campaign concept, Prashant Peres, director, marketing (chocolates), Mondelez India, says, “We want people to celebrate end-of-the-day routine and reward themselves. By introducing Cadbury Bournville as the perfect ‘unwind partner’, we hope to enhance this experience for our consumers. ”
According to an official statement from the company, everything about the idea was to entice a mature consumer. “One tends to typically graduate out of mild, milky flavours and sweets and discover more mature, varied and complex tastes. Chocolate, therefore, falls out of favour with the adults. Hence, through the current positioning, we have tried to drive a very strong relevance with our consumers in their day-to-day life. Bournville being a premium dark chocolate is an ideal partner to unwind with,” says the statement.
Dark chocolate is still a nascent category in the country, and the company believes that the current positioning will eventually help in developing the product segment.
HANGING SOMEWHERE IN BETWEEN
Santosh Padhi, chief creative officer, co-founder, Taproot
Dentsu, is disappointed with the ad. He says, “Although the proposition is nice, it has not come out the way
Cadbury Bournville’s new ad gives consumers a demarcated consumption window - the fag end of the day. Will Indians bite? By Snehojit Khan
>>
1 0 afaqs! Reporter, January 16-31, 2 0 1 6
The Perfect TreatBOURNVILLE
Satbir Singh, former chief creative officer, FCB Ulka, has launched Thinkstr, an
advertising agency with a focus on digital. Ravi Raghavendra of JWT has joined him as head of creative. The two had worked together at Havas. Ashwani Sinha, former senior planning director, O&M, has joined as head of strategy.
Singh resigned as the chief creative officer (CCO) of FCB Ulka last month, ending his year-long stint
with the agency. Commenting on the development,
he says, “At Thinkstr, we want to create ideas for digital consumers. Although we will use different mediums, digital will be at the core of everything. We will look at clients who are forward thinking and look towards a future world which is digitally connected.”
Talking about competition, he adds, “There’s no competition; we’ll create communication based on
briefs. So, Thinkstr could be a digital agency for one client and an outdoor for another, depending on the brief.
Singh further informs that the agency is already operational and by the end of January, there will be around 10 people on board.
Singh had quit Havas Worldwide, where he spent nine years, to join FCB Ulka. He joined Euro RSCG (later rebranded as Havas) as executive creative director in 2005, and was promoted to the position of CCO in 2007.
In his career spanning two decades, Singh worked with agencies including Trikaya Grey (now Grey), Leo Burnett, Contract, Equus, Ulka, and Ogilvy. He has handled brands such as Daewoo Automobiles, Volvo, Panasonic, Voltas, LG, and Reckitt Benckiser. He also led and authored
award-winning campaigns such as Incredible India! for India Tourism and Bajate Raho for Red FM.
On a New TrailTHINKSTR
Former chief creative officer at FCB Ulka, Satbir Singh has launched a new agency. By News Bureau
“There’s no competition; we’ll create communica-
tion based on briefs. ”SATBIR SINGH
New campaigns across television, print, out-of-home and digital media.
Got some great campaign that has been published recently? Upload it on afaqs! for the world to see.Visit: www.afaqs.com/advertising/creative_showcase
AMAZON The latest ad campaign from the e-commerce giant talks about the ‘Amazon Great Indian Sale’ which will be held between January 21-23.
CABSGURU Cabsguru, a search and comparison platform, for taxi operators has come out with a humorous digital campaign that highlights its Robocab feature. It lets users predefine their cab preference which saves them overcome the problem of not finding cabs during the peak traffic hours.
TATA GLOBAL BEVERAGES The brand’s campaign features an unconventional South Indian Granny who urges consumers to try Tata Coffee Grand, the instant coffee brand. The granny raps about the product saying ‘Coffee, the way it should be’.
Creative Agency: Mullen Lintas
YOLA CABS Stand-up comedian and YouTube content creator, Kanan Gill along with Naveen Richard, has brought forth the plight of people who use app-based taxi services in a funny video, ‘How Insensitive! - Calling a cab’. The video talks about issues such as traffic, taxi drivers’ tendency to take unnecessary detours among others.
Creative Agency: In-house
AUDI Q7 The German automobile manufacturer promotes the Q7 model in its latest print ad ‘Greatness starts when you don’t stop’. The ad features the car highlighting its design and features such as matrix LED headlights and virtual cockpit.
KERALA TOURISMSet against the beautiful backwaters and palm trees, the print creative from Kerala Tourism exhorts readers to ‘Slow down in God’s Own Country’.
Creative Agency: Stark Communications
TITAN RAGAThe watch brand has come up with a print creative for ‘The Moonlight Collection’ featuring actor Kriti Sanon. The collection pays an ode to the moonlight by correlating it with its range of wrist watches.
Creative Agency: Ogilvy & Mather
VIDEOS
VOONIK The fashion marketplace for women has launched its first TVC ‘Har Din Fashion Karo’ featuring Bollywood film director Farah Khan. She is seen promoting the idea that women can dress up fashionably everyday. The underlining thought in the campaign is ‘Zindagi ek film set hai. Imagine karo. Jahan mauka mile fashion karo’.
Creative Agency: Mullen Lintas
SULEKHA.COM The digital platform for local services takes a dig at the jugaad culture (using quick-fixes to solve problems), in its latest campaign Go #AntiJugaad, and asks users to find professional help using Sulekha’s app.
Creative Agency: Ogilvy & Mather
1 4 afaqs! Reporter, January 16-31, 2 0 1 6
Zomato Order Meets Grofers’ Fate;
Lessons For Peers
THE YEAR 2015 BROUGHT FOOD-TECH AND HYPER-LOCAL GROCERY PLAYERS INTO THE LIMELIGHT. MOST OF THEM ARE RUNNING ON MODELS WITH LOW MARGINSand high costs which make for poor unit economics. Players will need to fine tune and optimise monetisation streams, business models and operations to establish sustainable business.
Reckless expansion, driven by paranoia of losing the opportunity to competition, or trying to live up to the aggres-sive growth committed to their investors, without opti-mising existing models and understanding new market readiness is also bound to fail.
TV ads are not a differen-tiation. When the entire focus is on topline metrics, little effort has been put in to dif-ferentiate either in consumer’s mind or monetisation strate-gies - making loyalty low and keeping customer acquisition costs high.
THE BIGGEST PROBLEM THESE COMPANIES FACE IS EXCESSIVE FUNDING.IN THE NEW AGE DIGITAL BUSINESSES, THE FUNDAMENTAL OBJECTIVE IS TO RAISE money. As soon as they raise funds, the next objective is to burn it, then try and raise another round. It is a vicious circle. These ventures need to stop this cycle and focus on making money.
The fastest way to burn money in India is to open multiple offices across cities, hire people from top institu-tions and take front-page ad space in leading newspapers. When the funds run out, offices are shut, employees are sacked, and ventures claim to re-engineer their processes.
I feel that there is no genu-ine value at the customer level, excessive funding is a problem, and there is no pres-sure on entrepreneurs to build a serious business.
FRUITS AND VEGETABLES ARE A DIFFERENT BALL GAME WHERE QUALITY PERCEPTIONS ARE PERSONAL AND PRICES ARE constantly fluctuating. To influence customers and help them believe in the convenience of online grocery shopping have both been challenging and enlightening.
When it comes to expansion, one may want to think about economies of scale, geographies, capabilities, customer readiness and competition before ramping up. The readiness to advertise on mass media is dependent on the stage at which the company is. It may make more sense to advertise on national TV when one is ready to service across multiple cities.
Operational excellence with superior customer service is crucial for an online business. Timely delivery of good quality items, and resolving customer complaints become crucial in establishing trust and loyalty.
Senior Marketing Manager, Big Basket
Vice-president, Retail at Technopak
E-commerce Consultant and Founder, Indiaplaza
Shortly after Grofers announced shutting down operations in nine cities, Zomato’s food delivery service Zomato Order ceases operations in four. What is wrong with these segments? By Saumya Tewari
SUSH
IL K
UMAR
NONE OF THESE VENTURES HAVE BEEN ABLE TO FIND BUSINESS SENSE IN WHAT THEY DO. THE COST OF DELIVERY OF THE FOOD OR grocery and the logistics involved is greater than the margin. Most retail margins offered by brands in the restaurants space hover between 5-20 per cent. The order size is typically small and falls between `500-800. Hence, the net income to the company, either Grofers or Zomato Order, is `50-70 which is greater than the cost of the delivery itself. There is no advantage of scale. With each store, the ventures also need to place a certain number of motorbikes as well as delivery staff. Therefore, it is an unsustainable model. These ventures have figured out that the funding environment is becoming realistic and there are no exits. Hence, they have tried to save funds by ceasing operations and focussing on markets where they have a small chance of breaking even.
Co-founder, Seedfund
1 6 afaqs! Reporter, January 16-31, 2 0 1 6
STRIKING FEARPatanjali’s stunning rise and popularity have created consternation in competitors’ camps.
By Ashee Sharma
Without investing in traditional advertising channels for years, yoga guru-turned-marketer Ramkrishna Yadav (aka Baba Ramdev) made Patanjali Ayurved a force to reckon with in
the Indian FMCG and food segments. Now, with crores ear-marked for advertising across mass media channels, one can only imagine the potential scale. Patanjali Ayurved claims to have more than quadrupled its revenue in the past three years, from `450 crore in 2011-12 to `2,000 crore in 2014-15, and is eyeing `6,000 crore this year.
Patanjali Ayurved began as a small pharmacy in Haridwar in 1997. Today, it manufactures around 800 different products across categories including nutrition, grocery, healthcare, medicine, home and personal care. Categories ready to come include baby care, chocolate/confectionery (Patanjali Energy Bar) and health drinks (Power Vita).
Patanjali’s products are available at standalone stores as well as at modern retail format stores such as Big Bazaar, Reliance Retail, Spencer’s Retail, HyperCITY and SRS Retail. They’re also available at Patanjali’s Swadeshi Kendras, Arogya Kendras and its online store.
It also has a powerful partner in the Future Group.Says Kishore
that Patanjali will be among the top 3 Indian FMCG companies soon. After ignoring this segment for long, and now witnessing Patanjali’s success, almost all multinational FMCG companies are trying to bring in Ayurvedic products. Along with Patanjali we will create a strong ‘Swadeshi’ alternative to all daily-use goods in India.”
According to a recent report titled ‘Patanjali – Injurious To Listed FMCG Health’, released by financial services company IIFL Capital, Patanjali is
expected to clock sales worth ̀ 20,000 crore in 2019-20.Patanjali made it to the 2015 Brand Trust Report, a study conducted
was featured among the seven most trusted Ayurvedic brands in India. Patanjali is working with DDB Mudra North to promote its noodles, ghee (endorsed by wrestler Sushil Kumar Solanki) and toothpaste, Dant Kanti.
As per data from Broadcast Audience Research Council (BARC), Patanjali’s TVCs were telecast 12,969 times during November 21-27, 2015, making it the third most advertised brand on TV after Cadbury and HUL’s Fair & Lovely, during that period. Besides communication, the next leg of Patanjali’s success will have everything to do with another crucial cog, distribution. Experts present their points of view.
Besides his loyal followers, who tend to be slightly older, middle-class consumers from the Hindi-speaking
belt, Ramdev has found resonance with people who want advice on the kind of life they should be living. He has tapped into this consumer need brilliantly.
While Ramdev brought about Patanjali’s initial success, the future will depend on how the brand builds itself, here on. There are so many examples of brands that have out-lived their founders, because of continuous product refreshment and creativity in engagement with consumers. It’s time for Patanjali to clearly define its strategy, which is as much about deciding what not to do as it is about deciding what to do. Some of the products, such as noodles, are misaligned with its philosophy. Such decisions could lead to brand dilution over time.
In any category, around 15-20 per cent of the business lies with brands that claim a natural and herbal heritage. If Patanjali can put its act together, it can be a formidable competitor to the likes of Dabur and Ayush, which HUL is trying to revive.
VS KANNAN SITARAMOperating Partner, India Equity Partners (ex-Dabur, ex-Unilever)
It is no surprise that Patanjali featured in The Brand Trust Report (2015) alongside many heritage brands. The brand is at an
inflection point, poised for ten-fold growth. Had Patanjali been listed, it would have been the most vied-for company.
Now, the game is about quality and about formalising the trust. Outside of Ramdev’s
loyalists, many people are buying Patanjali just for a ‘different’ product experience. This set of consumers desires quality, is not married to any particular brand, is rooted and balanced, and is swayed neither by spirituality nor by politics.
Patanjali needs to work swiftly on the distribution front. Why should its products be available only at Patanjali’s stores? Why not at the chemist? Consumers should be picking up a Giloy Amla or a Dant Kanti at their local kirana stores, just as they would a Colgate or a Close-Up. Being able to meet the consumer where she/he is will drive impulse purchase.
Baba Ramdev is positioned as an underdog, someone everybody loves to see win. He is about ‘Swadeshi pride’. Unfortunately, in India, people still suffer from the ‘white-skin syndrome’. Hopefully, Patanjali will give the word ‘desi’ a positive connotation.
N CHANDRAMOULICEO, Trust Research Agency and author of The Brand Trust Report, India Study (2011-2015)
Patanjali has achieved commendable scale in a short period of time. With presence across
markets and categories, it has evolved into a corporate; it’s a company to watch out for. Patanjali’s proposition is that of purity and health. Add to that Baba Ramdev’s enormous equity in Yoga and Ayurveda. But Patanjali’s
vast product range has limited distribution. For success in the Indian market, distribution
is crucial. PRAVIN KULKARNI
General Manager, Marketing, Parle Products
Recent years have seen a marked increase in awareness around Ayurvedic and natural products, among Indian consumers, however, category penetration is still low. With the entry of new players, the market will expand. It will push demand and accelerate growth as consumers will have more choices. Dabur will continue to have the early-mover advantage in this category.
LALIT MALIK Chief Financial Officer, Dabur India
For decades, FMCG companies have been trying to cook up benefits such as ‘iron shakti’,
but Baba Ramdev is winning the market with ‘yog shakti’. This is a new model where native
intelligence wins over technical thinking. People are buying into Patanjali for its relevance and familiarity. They have been seeing Baba Ramdev promote Yoga on television for over a decade now. The pricing is the sweetener.
Companies that market Ayurvedic/natural products, such as Dabur and Emami, will not be impacted much. Except chyawanprash and honey they’re not in any of the categories that Patanjali is present in. I, for one, don’t know of an anti-dandruff Ayurvedic shampoo. So chances are Patanjali’s anti-dandruff shampoo will grab share from a known brand that belongs to a MNC.
In categories such as cornflakes and noodles, while Patanjali will get share from Kellogg’s, Nestlé Maggi or ITC’s Yippee, it will also help expand the market, given its mass appeal. Of the noodle pie, some of the market share that would have been restored by Maggi will now go to Patanjali.
Patanjali has got an excellent launch platform. Scalability and future success depends on continuous innovation and quality.
DHEERAJ SINHA Chief Strategy Officer, South and South East Asia, Grey Group and author of ‘India Reloaded’ and ‘Consumer India’
The success of Patanjali should be looked at in the context of its target segment – health and quality-conscious middle-class consumers, mainly in tier II and III cities. It has a fairly strong
customer franchise in these regions. One cannot attribute the brand’s success to Baba Ramdev
alone. The personality cult did bring in initial trials, but subsequent purchases are not happening because of him. The company will now ‘professionalise’ quickly, and Ramdev and Patanjali will operate independent of each other. This must happen; without that scale is doubtful.
In the mass market, Patanjali may have a direct impact on Indian companies like Dabur and Hamdard because of the overlap in the healthcare and food and beverage segments. It will clash with Marico and P&G in the personal care category. Lever’s Dalda could also take a hit. One of the reasons for this is the fact that there has been very little innovation in these categories by existing players. Also, Patanjali has the advantage of bringing in a novelty factor.
Patanjali’s prospects will depend on the kind of categories it enters. It should play in fewer categories, but play well in these. Distribution and reach will be important too.
India is seeing a contrasting trend when it comes to packaged food. At the bottom of the pyramid, packaged goods represent safety and hygiene, whereas at the middle and the top, there is an
undercurrent of distrust. Brand controversies, such as those around colas, chocolates and noodles, and the rise of lifestyle diseases, are augmenting these fears.
Patanjali’s credibility was beamed into consumers’ hearts and minds via TV sets; Baba Ramdev garnered great equity for spiritual and physical well-being. One would assume the core TG for Patanjali
comprises the less Westernised middle and lower middle classes, but the brand has loyalists across SECs, including LSMs (Living Standard Measurement) 11 and 12, that comprise the premium Dove/L’Oreal and Gucci/Prada consumer who are buying the healthcare products.
Mid-level LSMs 4 and 5 (Unilever’s bastion) include households that are adopting personal care and food and beverage products. From ghee to shampoo to chyawanprash, LSM 4/5/6 households might just become the new ‘Patanjali households’. Even Nestlé’s Maggi needs to expand to and below this LSM, which will definitely be open to Patanjali noodles.
Patanjali, because of its association with Baba Ramdev, comes with enormous credibility. He has high media presence and has leveraged political sentiment to define what he stands for – pride
in nationalism, traditional values and scientific wisdom. The lesson for brands is – it’s important to have a set of loyal, even obsessed, fans. Then it doesn’t matter if there are others who hate you.
Today, people are not uncomfortable with product extensions. Earlier, a hair care brand could sell hair oil and shampoo, but not skin creams. Today, Dabur has a toothpaste, hair oil and honey. Patanjali will enjoy the same advantage because Ayurveda will allow the brand to enter practically any category... even noodles!
Success will depend on which categories it focuses on. Companies selling rice/atta (say, ITC) and detergents (HUL) can easily achieve growth and scale, compared to those in the personal care and healthcare, which are limited by the size of the categories. So, while Patanjali could overtake a P&G, it can’t trump HUL. With Ramdev, Patanjali has already won 50 per cent of the battle. Whether it will gain enough credibility and momentum to outlive its founders, will depend on how appealing the brand makes its proposition to the next generation of buyers – those who don’t know them.
AMIT KHANNAIndependent Marketing Consultant (ex-KPMG)
KALYAN RAM CHALLAPALLI Chief Strategist, Wolfzhowl Strategic Instigations (Ex-Leo Burnett, Ex-TBWA)
ANAND HALVE Co-founder, Chlorophyll, A Brand Marketing Consultancy
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2 0 afaqs! Reporter, January 16-31, 2 0 1 6
The ethnic apparel brand Biba has rolled out a digital ad #ChangeIsBeautiful to solve the biggest dilemma that girls of marriageable
age have to face in Indian society - that of choosing a life partner by treating prospective in-laws to tea and samosas! And, it is the girl’s cooking skills that decide her fate.
Coming to the rescue of its target group (TG), Biba’s new ad plays the change agent by asking boys to prove their worth to the girl and her family. The film depicts the regular scenario of an arranged marriage which ends on an unpredictable and amusing note when the girl’s (played by South Indian actress Regina Cassandra) father turns the tables on the boy by questioning his cooking skills. Surprisingly, instead of flaring up, the boy requests for a period of 10 days to master the art.
If the virtual world was any measure of the real, the popularity that the video has gained shows how fast Indian society is changing. Siddharth Bindra, managing director, Biba, claims that the ad got close to 1.5 million views within 19 hours of its release, on December 29, 2015. He further informs that over 90 per cent of the campaign’s reach is organic.
Suva Ghosh, founder and chief creative officer, Brandmovers, adds, “This film is a commentary on arranged marriages in India, where the onus is almost always on the woman to prove her merit. This is Biba’s stand on changing ideologies towards a more progressive society.”
With almost every brand taking a feminist stand to get the viewer’s attention these days, there must certainly be more reason for Biba to carry out such an execution. “This campaign is a personification of our brand foundation which makes Biba the face of today’s modern woman. Change is the only constant thing, and it is indeed beautiful when it aims at the betterment of an individual or even society at large,” says Bindra.
In fact, in order to represent the evolved customer, Biba had in March last year, unveiled a
refreshed identity with a new logo. The brand sees potential in the digital
medium, particularly because of the success of Biba.in, launched in October 2014. According to Bindra, the response to the online portal has been “fabulous”, and the company expects it to constitute at least five per cent of the business this year, with e-commerce contributing a total of 12-15 per cent.
Biba, therefore, chooses to be more active in the digital space. Prior to this, it had released a digital video last year to describe the journey of a small town woman to a big city and showcase how the brand helped her in discovering her individuality. The campaign was also aimed at creating buzz about Biba.in.
Talking about the impact of online retail in fashion, Bindra shares that one of the most striking developments is that today customers are adopting
new fashion/trends very fast. “We must constantly listen to our customer and engage with her to understand her changing perception of fashion. As a market leader I would look at this as a great opportunity. We have been trend-setters in the category launching trends like the Palazzo pants, Anarkali style, and asymmetrical cuts,” he states.
While the brand is picking up on the e-commerce front, Bindra believes that it will co-exist with physical retail. In fact, Biba plans to expand its retail presence by adding up to 50 brick-and-mortar stores this year, and 200 over the next three years. The biggest challenge in executing this plan, he tells us, will be real-estate. “There is no
good quality real-estate available and what’s there is extremely expensive. The overall market has also been challenging. People are trying to beat the ever-increasing inflation which has led to lesser disposable incomes. We see the latter improving this year,” says Bindra.
CHANGE-READY?
Hemant Shringy, executive creative director, BBDO India, feels that while the ad asks the
right questions, is provocative and emotionally appealing, it lacks the product connect. “If being a traditional, yet progressive brand was the brief, it would have been beautiful to see the idea stem from the product itself. ‘Don’t judge me as being regressive and old-fashioned just because I choose to wear Indian clothes’ could have been a strong and empowering route,” he says.
While agreeing that there is currently an overload of the feminist stance in communication, he says, “It’s unfair to put a generic blanket of ‘feminism’ as the statements that are being made are addressing very specific issues. Having said that, only when the product, brand and category connect is strong does the message ring true.”
Vandana Katoch, founder, Clayground Communications, finds the ad well executed. She, however, thinks that the brand could have been more central to the plot. “I’m a Biba customer myself and quite like their designs. But in the ad, I miss the brand. Even if one garment is on display, it should be romanced beautifully,” she notes.
Commenting on the oft-repeated formula of feminism she says, “Feminism won’t go out of fashion anytime soon, given the focus placed on women’s issues today and the gradual shift in mindsets. The difference lies only in how you weave your brand story around it.”
“This campaign is a personification
of our brand foundation.”
SIDDHARTH BINDRA
“This is Biba’s stand on changing ideologies towards a more progressive
society.”SUVA GHOSH
FOTO
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Biba’s new digital ad #ChangeIsBeautiful challenges societal norms on arranged marriages by turning the tables on the boys. \Find out how. By Ashee Sharma
Progressive TakeBIBA
MY FM RADIO A GAME CHANGER
Tell us about your favourite campaign? What mediums were used to execute it?Quite obviously, I do have many favourites, but one that springs to mind is a Diwali campaign I was at the centre of creating for Cadbury Celebrations some years back (2011). It was a truly integrated campaign. One that involved the use of multiple media integrating the core message across all the media used. The campaign titled Iss Baar Jaakar Milenge, focussed on how technology today, instead of bringing people closer together, is actually responsible for keeping them apart. The media used was film for TV and online, digital activation, print, web banners, posters, outdoor, on-ground activation, in-store activation and yes, radio, of course.You can see the case study video for the campaign here, which includes the radio spots.https://www.kulzy.com/work/89485/cadbury/film/diwali-final/
As a scriptwriter how do you measure the success of a Radio Campaign?As a scriptwriter, I do not have a specific metric for the success of a radio campaign. But if people don’t change the channel or mute it while walking, driving or cooking or whenever it is that they are doing while listening to the radio, then that
means, hopefully, they are listening to the radio spot because they like it.
According to you, how important is a good script in making a radio campaign successful?The idea, followed by the writing of the script is of paramount importance in the success of a single radio spot or campaign. If it’s not interesting or memorable, it’s bound to flop. If you think, (like in any other medium), people have turned on the radio simply because they are dying to hear your spot, you couldn’t be further from the truth. But what is important to note is that once you have a great idea followed by a great script, you need to focus on the quality of production. Who is the voice over artist? Who is the music director if you are creating a jingle? The sound effects and the expertise of the sound engineer in creating the mix. Everything is crucial.
Decide on a tone of voice, keeping in mind the message you need to deliver. Being funny for the sake being funny is never going to work. The idea is crucial. Most importantly, get the listener’s attention by being scary,
funny or serious within the first 5 seconds. Or you’ve lost him or her. Write sparingly. If you pack in reams and reams of information in the most boring manner possible, consider the channel changed, even before you can say channel. Keep the spot entertaining till the very end. Especially when you are talking about the product. Don’t treat that as some spiel that you just need to get over with.After you write your spot, time it. Does it fit in the allotted time? Then, read it out to yourself again. Will you want to hear this on the radio? Will you change the channel or mute it, if you heard it on the air. Be your own worst critic.
How can a marketer leverage radio as a medium to reach out to his target market?Marketers and ad agencies are consistently using radio not just to air spots but more importantly, hand in hand with radio stations, they are also creating great activations which are specific to radio alone. Contests can be aired on radio alone. Radio jockeys are consistently engaging with listeners to urge them to come forth with views on any given topic. And they seek their views on brands as well. Listeners usually tend to be honest in their assessments, when they are on air, because they do not wish to be caught saying the wrong thing.
Its effectiveness and ability to reach out to the masses in tier II and III cities have always attracted marketers towards it. Any other benefits that marketers targeting these areas can look at leveraging through radio advertising?Radio’s effectiveness and ability to reach to the masses is one thing. Making a great connection with them, is quite another. The brands that manage to do this the best will gain the most from the medium.
How does your approach change when creating advertisements for Radio in a particular campaign?It doesn’t change. The core principles remain the same. A great idea, followed by great execution. This is of utmost importance. If you can write words or music for the radio spot that paints a clear picture in the listener’s mind, a picture that the listener does not wish to wipe out, then you have won him over. If it is an activation, how interesting are you making it for the listener to be involved? This is crucial. This is what will raise the level of interactivity. And effectiveness.
How do you see the growth of Radio industry in India?The growth of the industry is safe as long as creativity is allowed to flourish. And the onus is equally on ad agencies, media agencies, radio stations and advertisers.
Nair has over 20 years of experience in advertising. He has worked at JWT and Enterprise and before joining Madsion as Chief Creative Officer, Nair was working with Contract Advertising as regional creative director. He has many awards to his name from Indian and international award shows, and has also served as a jury member at many prestigious awards.
Marketers and ad agencies are
consistently using radio not just to
air spots but more importantly, hand in hand with radio stations, they are
also creating great activations which are
specific to radio alone.
RAJ NAIRCHIEF CREATIVE OFFICER, MADISON BMB INDIA
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CORP
Will Netflix Change the Way India Consumes Content?
THIS IS A GOOD DEVELOPMENT FOR THE ENTIRE DIGITAL ECOSYSTEM. AS ADOPTION OF ONLINE CONTENT INCREASES THE PAYMENT methodologies, as well
as advertising and brand
support will slowly start
falling into place. We’ve seen
significant improvement in
infrastructure, too. In terms
of pricing, I think it’s more an
international pricing, and we’ll
have to see how the consumer
adopts it, and over a period of
time, pricing for content will
depend on cost of content and
bandwidth.The market is still nascent,
and there is room for a lot of players. We will play to our strengths and Netflix will do the same, and as markets evolve, consumers will choose content. Basically, smartphone adoption, bandwidth improve-ment, and payment options, are the key to these businesses maturing.
THE US CABLE TV ARPU (AVERAGE REVENUE PER USER) IS AROUND $80-100, WHILE NETFLIX’S SUBSCRIPTION RATES ARE IN THE BRACKET OF $8-10. IT IS A HUGEprice arbitrage advantage that Netflix had in the US. The Indian cable TV market has one of the lowest ARPUs in the world. Netflix’s basic subscription plan is virtually double. Even the premium HD packs of DTH and cable companies do not have any price advantage.
The OTT explosion in India is happening primar-ily on mobile, so long format consumption at high data costs on mobile is a complete-ly different paradigm. Add to that the current challenge of bandwidth, which can change with 4G and fixed line broad-band.
I think Netflix will play the role of a ‘category expander’ as it is the only subscription-based VOD service with exclusive content.
IT IS A MYTH THAT PEOPLE WON’T PAY FOR CONTENT -- THEY WON’T PAY FOR BAD CONTENT, OR USER EXPERIENCE. INDIA IS AN ASPIRATIONAL market where one will pay for quality. Netflix knows that there is a niche segment which enjoys its content, and it is the one which will not receive any resistance vis-a-vis pay for quality. And, within this segment, Netflix probably has the best content. There is no alarm of domination here, because of the way the market has classified itself, be it propensity to pay or to consume.
In terms of efficient online consumption in India, one could argue that it’s going to take a while for a certain homogenity to set in, so where infrastructure is not friendly, our own focus has been more on getting consumers to download content.
Netflix in India will educate Indian consumers, take them off piracy, and further help in the revolution of paying for content.
Chief Executive Officer, Spuul Global
Executive Vice-president and Head, Digital Business, Multi Screen Media
Chief Operating Officer, Viacom18 Digital Ventures
US-based Internet TV service Netflix’s launch in 130 new countries including India, has generated buzz among consumers of online video content. Will it sustain in a market that has a substantial base of pirated
and illegally-accessed content? By Shweta Mulki
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I FEEL NETFLIX HAS HIT THE SWEET SPOT ON PRICING. THE VOLUME OF CONTENT WILL ONLY GO UP. GOING BY REACTIONS ON SOCIAL MEDIA networks, it seems like the pricing is a hit.
It’s too early to predict if it will boost paid content. When great content is available online, cord-cutting is an inevitable outcome. India is quite savvy when it comes to international content, thanks to torrents. This generation will now have the choice to watch the same high-quality content via legitimate means. This will get a massive fillip with 4G and faster broadband infrastructure.
As far as content catalogues are concerned, Netflix’s TV-show catalogue seems quite robust, so does the kids-targeted content. Most of its own flagship shows are available, so that’s a great spread. Once the distribution rights are sorted out, I’m sure the volume of movies will see a big uptick.
Managing Director, MEC India
2 2 afaqs! Reporter, January 16-31, 2 0 1 6
The Hindi entertainment channel Colors’ social drama Balika Vadhu has been one of the longest-
running shows on Indian television, with its central character Anandi gaining huge popularity with the audiences. Drawing inspiration from Anandi’s appeal as a child, Colors has associated with the production house Sphereorigins to launch a home-grown animated series called Chhoti Anandi, as a first-of-its-kind extension of a popular television show character. With the focus on building its Sunday morning programming, Colors and Viacom 18’s free-to-air channel Rishtey will simulcast the show starting January 17, every Sunday at 10 am.
According to an official statement by the channel, the series aims to capture Anandi’s childhood adventures, and focusses on the period before she becomes a child bride. Describing the show, the statement says, “Chhoti Anandi is an eight-year-old who is known to find innovative and unique ways to solve problems faced by her village folks. The series will highlight her entertaining, yet mischievous side as she indulges in innumerable escapades in the bylanes of a village in Rajasthan.”
The audience will also get to see a similar backdrop, the same kind of colours, and music as that of the original show, including an inspiring message for the viewers at the end of every episode.
Commenting on the launch, Raj Nayak, chief executive officer, Colors, says, “This is the first time on Indian television that a popular fiction show character is being adapted into an animated series. We plan to engage and strengthen our bond with tiny tots
through Chhoti Anandi, and present a show that is visually appealing and entertaining at the same time.”
Manisha Sharma, programming head at Colors, adds, “With Chhoti Anandi, we plan to not only expand our viewer base to include the kids segment, but also engage with parents who have been entwined with the legacy of Anandi through Balika Vadhu and know of her intelligence in dealing with varied situations.”
Producer Sujoy Waddhwa, chief managing director of Sphereorigins, says, “The show will not be an animated representation of the story of Balika Vadhu, but will be that of Chhoti Anandi’s adventures. Her tales will encourage young viewers to learn life’s lessons in the simplest manner and put them to practical use.”
Anish Patel, founder and chief executive officer, Hop Motion, (the firm that has created the animated characters), adds, “The brief was to maintain the Indian-ness and the essence of Anandi’s character in a fun manner, and we combined superior graphics with vibrant colours to provide viewers with an engaging proposition.”
The channel has planned an extensive promotional strategy including digital outreach and activations across rural markets.
Reliving ChildhoodCOLORS
The Balika Vadhu-inspired animated series will be a first-of-its-kind for Hindi GECs. By News Bureau
it should have through the creative. Cadbury is known for its superb ads, but this particular ad is not up to the mark. It is falling short on every parameter.”
According to him, the video should have been shot on the lines of a more personal engagement between the consumer and the product. “The video shows what happens to the world while the protagonist relishes the chocolate, but it doesn’t show what exactly happens to the protagonist after he consumes it. There should have been a more personal perspective,” says Padhi.
He further adds, “I think Bournville is positioned to be a superior product offering and it has worked for Cadbury before. But, in comparison to the previous ads, the quality of this one is very poor.”
Vasudha Misra, senior creative director, FCB Ulka, feels that the ad should have been more of an interpretation than a demonstration of the brief. “While the objective of the campaign has been met (that is, to create a specific time slot for consumption of the chocolate), I think the ad is a great demonstration of the brief, when it could have been a great interpretation of
it,” she says.Misra further adds, “This particular
chocolate is not a mass brand, so, for the kind of people it is meant for, it will work. But, it could have been more engaging and entertaining,” she says.
According to Vishal Chemjong, senior creative director, Digital, Cheil India, the ad has not been able to keep up to the legacy of the company as compared to its past advertisements. “Making chocolate a great way to end the day is a very nice space indeed. The minty chocolate brand After 8, has been thriving on this since 1962. Bournville had a great opportunity to create a memorable commercial, but sadly that did not happen here,” he feels.
He feels that campaign could have worked better if there was clarity in its tonality.
2 3afaqs! Reporter, January 16-31, 2 0 1 6
The Perfect Treat..<<
Nayak, Sharma and Patel: targetting kids
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India has now got its first transgender band called ‘The 6 Pack’. The brand has rolled out its debut single number ‘Hum
Hain Happy’, which is a rendition of the original popular English song Happy, sung by the American singer Pharrel Willliams.
Launched by Y-Films (the youth wing of Yash Raj Films), in association with Hindustan Unilever’s tea brand Brooke Bond Red Label, the video has already gone viral garnering over a million views on YouTube.
Conceptualised by Mindshare Fulcrum, the peppy video features the six band members Asha Jagtap, Bhavika Patil, Chandni Suvarnakar, Fida Khan, Komal Jagtap and Ravina Jagtap. The track has a dash of Hindi lyrics which are quite amusing to the listener. It goes “Because I’m happy, khush raho, nacho gao, aao bajao taali..”. The video, which has been shot at various locations, starts with a voice over by Bollywood actress Anushka Sharma. “In India, the third gender is ignored by most, tolerated by some, misunderstood by all. In India, the ‘hijras’ are a community almost in exile,” she says.
The video is an initiative created and driven by Y-Films to help further the cause of gender
equality in India. The brand Brooke Bond Red Label finds a fit in the initiative as its core philosophy is brewing togetherness. Hence, it celebrates togetherness and depicts a more welcoming world.
Shiva Krishnamurthy, category head - tea, Hindustan Unilever Limited says, “Brooke Bond Red Label believes in making the world a more welcoming place by diffusing socially awkward situations. We encourage people to live those little moments that bring us all closer by breaking barriers over a cup of tea. This time we chose the medium of music to spread this message. We are happy to partner with Y-Films, Yash Raj Film’s youth films wing, to present the Brooke Bond Red Label 6-Pack Band and hope that it will be loved by one and all.”
The band will release a total of six tracks curated by composer Shameer Tandon with a video. The band’s next track will feature Bollywood playback singer Sonu Nigam.
The Hijra (the word is the Hindi slang for eunuch) community was officially recognised by the Indian government in 2014 as the third gender, and gave it special status under the Rights of Transgender Persons Bill, for the purpose of education and employment.
What Gender?BROOKE BOND RED LABEL
The tea brand launches India’s first transgender band. By News Bureau
The band’s next track will feature Bollywood
playback singer Sonu Nigam.
2 4 afaqs! Reporter, January 16-31, 2 0 1 6
In a bid to promote its multimedia digital platform Catch News, Rajasthan Patrika Group has
roped in popular Bollywood actor Ranveer Singh. The news portal’s first-ever video campaign features Singh who tells us why he trusts Catch News as a news source.
The actor talks about how news outlets are in a mad race to be the first and fastest to deliver news. But, for Singh, it is credibility that matters which is why he trusts Catch News. And, that is precisely what the campaign’s objective is - to highlight the platform’s credibility which caters to the time strapped reader.
Catch News was launched in June last year. It targets 18-45-year-
old Indians, NRIs, and global citizens, who are often pressed for time.
Apart from Singh, actor Deepika Padukone, too, had recently featured in a Rajasthan Patrika Group campaign.
Editor-in-chief of Catch News, Shoma Chaudhury says she was clear that she didn’t want to limit the site’s vision.
“The world is no longer a linear space. Science affects politics, which in turn affects art, which affects the environment. I imagined Catch as a
vibrant, inclusive space that explores all these connections that shape the human experience today,” she says.
The team, headed by Chaudhury, comprises Bharat Bhushan as editor, Vinny Ganju as the chief operating officer, Payal Puri as lifestyle and features head, and Kunal Majumder as the editor, operations and Speed News desk.
The news platform claims to have hit over three million monthly unique visitors. It also launched its Hindi portal in December, 2015.
Star PowerPATRIKA GROUP
In a video campaign, Bollywood actor Ranveer Singh states why he trusts the digital news venture Catch News. By News Bureau
“I imagined Catch as a vibrant, inclusive space
that explores connections that shape the human
experience today.”SHOMA CHAUDHURY
When Tarun Rai, 51, took charge as CEO, J. Walter Thompson, South Asia, around March 2015, the first thing he did was, “removed the
frosting from my door... it’s a small thing, but, hey, we’ve got nothing to hide...”
Rai, an avid squash player and weekend golfer, is keen on reviving J. Walter Thompson’s corporate football tournaments, something he fondly recalls from his previous 20-year-long stint at the agency, seven years back.
He spoke to us about his goals, and about his recently elevated chief creative officer Senthil Kumar.
Kumar, 42, who’s currently stealing time to pen a book about hiking trails in the Nilgiris, fielded a couple of questions too.
Let’s talk about Senthil’s promotion...Tarun: The CCO’s position at JWT has been in the news for the past seven years.
I took a little bit of time - around six months - to decide that Senthil is the person for the job. People say about his appointment, ‘Why wasn’t this done earlier?’. Well, I can’t speak for my predecessor but I took six months... and here he is.
Speaking of your predecessor, you seem to be a lot more ‘low profile’ than Colvyn Harris. It took you months to start giving media interviews...
Rather than building my ‘profile’ talking to the press, I’m out there talking to clients. I’m in pitches. I haven’t even had time to go down to the third floor to play a round of pool. I must correct that... (smiles).
JWT then, J. Walter Thompson now. What glaring differences hit you upon your return?Tarun: We are now genuinely a communications group. When I left, it was predominantly ‘an agency’. Even though we said, ‘Oh, you know, we want to be digital,’ we didn’t have any specialised capabilities. Seven years later, we do. Today, 40 per cent of our revenues come from non-traditional...
When you came on board, many people called you ‘the turn-around guy for JWT’...Tarun: In the life of a company, especially one that has been in India for over 85 years, there will be ups and downs. In 2008 when everyone was hit by the global recession, some companies took long to recover, some recovered faster. J. Walter Thompson had a few slightly challenging years... So, I don’t see it as a turn-around, but I want to focus on the right things.
Q. Such as?Tarun: Growth. Within the next five years we’re going to double the revenues of J. Walter Thompson South Asia.
There are people who don’t believe advertising
has a great future. Well, traditional agencies don’t, but if you operate in the communications space, you do.
Clients are spending. They’re not necessarily spending all their money with traditional agencies. Growth is stupendous in other areas of communication.
I want more market share from experiential, digital, design, technology. So it’s not about turning it around; it’s about pushing for strong double digit growth.
How do you plan to get this growth?Tarun: There are three ways.
First, new business from existing clients, but from new streams. They’re spending money on various things through other digital/specialised agencies, but they’re not necessarily spending money through us.
Second, new clients. There our issue is - managing conflict. One of the issues with being so big is - you’re in every category. Our strategy is to get business in categories that we’re not present in.
Third, acquisitions.
Senthil, you are unabashedly vocal about your laser focus on international awards. Aren’t you worried the S-word will catch on?Senthil: The S-word does not exist in my dictionary. I haven’t won a single award on a public service brand.... (smiles)
It’s about solving business problems with great, platform-specific - as opposed to media agnostic or language-specific - work. You don’t start with, ‘On this brief I’m going to win a Cannes Lion...’
For a creative person, 10 per cent of the job is coming up with an idea, 80 per cent is bringing it to life, and the last 10 per cent, is saying, ‘Wow, this is good, it has solved the client’s marketing problem, now what can it do for me? Can it make me famous?’
It’s great for creative people to want to be famous. That’s what motivates them.
The burgeoning start-up culture in India has given agencies a rich pool of potential clients. But are large, networked agencies fated to work with large MNC clients while smaller, newer hotshops, - like AIB’s Vigyapanti, for instance - happily position themselves as start-up experts?Senthil: We’ve been looking at who our competition is. Bengaluru is a hotbed of start-ups. They have the idea and the investment, but they don’t know how to go about the communication and brand design bit.
We are working on an experiment. We’ll create a ‘session’ where we’ll invite start-ups, see what happens, see what ideas we can contribute.Hopefully we’ll set up this operation in Bengaluru soon. [email protected]
TARUN RAI> SOUTH ASIA CEO, J. WALTER THOMPSON
A quick chat with Tarun Rai, CEO, J. Walter Thompson, South Asia, and his recently elevated chief creative officer Senthil Kumar. By Ashwini Gangal
“I’m out there talking to clients; I’m in pitches”
2 5afaqs! Reporter, January 16-31, 2 0 1 6
TARUN RAI SENTHIL KUMAR
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In order to commemorate its achievement of having enrolled one lakh customers on its platform, online marketplace IndiaMART has tried to
bring into the limelight, the country’s emerging entrepreneurs with its new digital campaign. Titled I Believe In IndiaMART (#IBelieveInIM), the videos gives voice to the small and medium-sized enterprises (SMEs) which have benefitted from their alliance with the online marketplace.
Acknowledged as the true heroes of India’s growth story, the entrepreneurs share their journey of success
through the campaign videos, and show how the online marketplace helped them grow their business effectively. The campaign was launched digitally on January 7, and will run for 21 days across digital platforms including Facebook, Twitter and YouTube. Along with the main montage video, a series of nine short testimonial videos have also been launched which provides customer insights on their association with IndiaMART.
Highlighting the crucial role that IndiaMART played in the growth of small and medium scale enterprises, the videos project how sellers from various enterprises have expanded over the years with its help.
The videos also talk about how the online platform has helped sellers to acquire new businesses, generate higher profit and export their products.
Dinesh Gulati, director, IndiaMART, feels that the campaign brings forth the feeling of high-esteem for clients associated with the company. He says, “We have enabled the MSMEs of India with an opportunity to innovate. Through the launch of the digital campaign,
we want to showcase the pride our customers take in associating with IndiaMART. As their business growth has multiplied over the years, their belief and trust in us have grown even stronger. SMBs see the highest return on investment with IndiaMART, with an increased profitability and wider geographic reach.”
Gulati further adds, “We aspired to put a face to the millions of stories we have experienced in our journey so far and what better way to do so than through social media. People will easily relate to these stories as the campaign encompasses real people who talk about how they achieved real growth.”
Says a company statement, “IndiaMART has always endeavoured to give speed to its mission to ‘make doing business, easy’, and over the years, the SMEs allied with IndiaMART have echoed this thought by achieving a fabulous turnover and outreach thanks to the company’s robust support.”
The statement further adds, “The campaign brings to the fore these individuals who have gone on to not only survive, but sustain and scale their businesses.”
Stressing on the tagline, ‘Kaam yahi banta hai’, the campaign tries to project IndiaMART as an indicator of SME empowerment giving reasons why customer partners have believed in the company.
Founded in 1996, IndiaMART currently has over 3,000 employees located across more than 55 offices in the country. Its existing investors include Intel Capital and Bennett, Coleman & Co. Ltd. The company offers a platform and tools to over two crore buyers to search from over three crore products, and get connected with over 20 lakh suppliers.
Success StoriesINDIAMART
The campaign has been launched to bring into the limelight, the country’s emerging entrepreneurs . By Snehojit Khan
2 6 afaqs! Reporter, January 16-31, 2 0 1 6
Veteran journalist and former editor-in-chief of The Indian Express, Shekhar Gupta, and
consulting editor at NDTV, Barkha Dutt, have together launched a digital and events venture called The Print.
Both Gupta and Dutt announced the new entity on micro-blogging site Twitter.
Dutt, while commenting on her role at NDTV on the same site, tweeted, “For those asking, TV relationship with
NDTV remains as is, The Print India builds multi media platforms in the digital and events space.”
Senior journalist, Ruhi Tewari, who has worked with The Indian Express and the financial portal Livemint, has joined as associate editor of The Print.
The first offering from the venture is titled Off The Cuff, and its first edition began with Gupta interacting with Nikesh Arora, president and chief operating officer of SoftBank Corp.
Eventful Start
THE PRINT
Shekhar Gupta and Barkha Dutt have launched a digital and events venture. By News Bureau
The first offering is titled Off The Cuff.
Gulati: assisting growth
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Gupta and Dutt: joining forces
SUSH
IL K
UMAR
Dating apps like Woo, Truly Madly and Tinder are gaining popularity in India. But what’s it
to traditional matrimony sites like Shaadi.com? These marriage-focused dotcoms are now mobile-savvy, have freshly revamped brand identities, talk directly to the youth and claim to operate in an entirely different space. Question is - are the two segments, ‘online dating’ and ‘online matrimony’, really that different today?
Edited excerpts from an interview with Gourav Rakshit, the affable CEO of Shaadi.com...
Tinder recently announced its India operations. And a lot of people are using dating apps to find a life partner. Does this worry you?
Tinder is treating India like a serious market. But they will need to do more than just white label their product in the country.
They’d like to have high levels of retention and stickiness. They’ll invest in that, as they should.
I don’t see it as a threat. To me, Tinder is as much of a competitor as a good marriage broker would be. The only difference is - Tinder has been successful outside the country.
Tinder’s ‘swiping left-swiping right’ paradigm works very well in the context that they’re trying to build. But on Shaadi.com, because you’re looking for ‘the one’, it’s not as easy to just ‘swipe’ someone away. If you’re looking for the love of your life, you need to invest more (time) into it...
Some of our users are still figuring out what it means to be on the internet, along with what online matchmaking means for them. I don’t think dating companies will need to go through that journey.
And we have a head-start in being able to create a matchmaking experience.
Sure, but there’s no denying the user overlap across matrimony sites and dating apps. The person
who manages his/her own profile on a Shaadi.com is very likely to have sampled a dating app...
Yes, individuals co-exist on both platforms. It’s the psychographic, not so much the demographic, that’s different across the two platforms.
We find that people are looking for different things from different service providers. The same person may use Shaadi.com and a dating site/app, differently. The kind of people they interact with, the kind of choices they make, are very different on these two platforms.While marriage could be the end game on a dating site as well, the way people go about the search is quite different there than it is on a Shaadi.com-like platform.
If Tinder-like apps are about hasty swipes, matrimony sites are restrictive in that they force you to find ‘the one’ within a given community...
As a nation, we’re focused on community. But the definition of community is no longer narrow. For example, a Telugu person may realise that his affinity to Mumbai is higher than that to the Telugu community.
And 50 per cent of the people on Shaadi.com say community doesn’t matter. Besides, it’s unfair to assume that someone, looking for a match in a particular community, is not of a progressive mindset.
To youngsters, the process of finding ‘the one’ through a
dating app might be more appealing than doing so through a matrimony site...
If we’re becoming irrelevant to a large demographic, we’ll have to think about what our brand stands for. But I don’t think we are.
Yes, I do think our name positions us in a certain way which could create a barrier in the minds of people.
We’ll also need to look at whether there’s a larger, societal shift away from finding ‘the one’. That’s a psychographic we need to be very aware of. Today, the segment that’s looking for a long-term, committed relationship, but not for marriage, is very small, in India.
Shaadi.com and other matrimony brands are still struggling for ‘app space’ on consumers’ mobile devices; they’re largely seen as ‘desktop brands’. Dating apps, on the other hand, own the mobile screen...
About 50-60 per cent of our users are using our app. But in any case, the app system is evolving. The next cohort of people are likely to have less than 4GB of phone memory. Phones will get cheaper. Then, the battle may no longer be about ‘app real estate’ but rather for relevance.
So it’s not the potential threat from dating apps that keeps you up at night. What then?
We are looking at multi-lingual capability aggressively. Today, many people use English scripts to communicate in regional languages; you see that a lot of Facebook. But the next wave of internet users will not have access to English as a script.
Technologically, we’ll be able to tackle this; it’s the experience, the human side of it, that we’re going to have to think about. Say, you’ve written your profile in English. In what ways can I show it to someone who can only read Hindi? Should it even be seen by him? How can I translate it and still retain the accuracy? These are the things we will need to think about.
GOURAV RAKSHIT> CEO, SHAADI.COM
Gourav Rakshit, the CEO of Shaadi.com talks about the evolving online matrimony landscape and the threat from dating sites/apps. By Ashwini Gangal
“If you’re looking for the love of your life, you need to invest more into it”
2 7afaqs! Reporter, January 16-31, 2 0 1 6
FOTO
CORP
DECEMBER 9, 2015
WESTIN MUMBAI GARDEN CITY
The Mumbai edition of the Brand Owner’s Summit featured marketing heads from companies, both
seasoned and new-born. Held at the Westin, Mumbai, on December 9, 2015 the event saw speakers talk about the journey of their brands, the challenges and opportunities within, and staying relevant.
Sanjay Tripathy, senior executive vice-president, HDFC Life, threw light on the facts and perceptions about the concept of insurance. He spoke about how earlier, many in India would have life insurance policies bought by their parents decades ago. Tripathy said that India was earlier largely uninsured, with very small ticket sizes. He said that the insurance market, over the last few decades, had gone through various stages, beginning with the sole government player Life Insurance
Corporation. But now, there is an option to choose from various private players. "Everyone thought that with private players and their foreign partners come in, things will start selling themselves as these brands were an extension of solid companies. But, for the first five years, everyone continued to copy the
‘LIC agent’ model, and all spoke the same language," said Tripathy.
He explained that there was a need to differentiate, and their research showed that beyond the reason of security and protection for family, people who bought insurance did so because they didn’t want to depend on, or take help from others. This is when the team picked up on the proposition of dignity and self-respect with the ‘Sar Utha Ke Jiyo’ campaign. While communication earlier was more about ‘what could go wrong’, the brand tried to create a different concept and focus on ‘what can go right.’
Elaborating further on how the company also wanted to build pension as a separate category, and steer away from the ‘Chintamani’ motif for selling plans, Tripathy said, "The primary differentiator was to offer something for both the ‘die
younger’ and ‘live longer’ scenarios."He further added that in order to
portray an old brand as young, the team had to refresh itself in 2010. Also, with HDFC Life’s logo colour being different from that of HDFC and HDFC Bank, Tripathy stated that it was perceived as an independent identity. This was when the company underwent a re-branding exercise and created a younger imagery that fitted them into the HDFC family.
The next phase was that of going online. "We created digital conversations with our consumers within the framework of ‘Sar Utha Ke Jiyo’. It was not just about creating an e-commerce branch, but we built a new special team three years ago," said Tripathy. He added that the brand’s campaigns on Twitter and other social media platforms have trended well, and helped immensely with consumer connect.
At a panel discussion at the afaqs! Brand Owners’ Summit held at the Westin Hotel, Mumbai, on
December 9, 2015 business and marketing heads of start-ups such as Faasos, Ziffi, Housing.com and Policy Bazaar shared their insights on handling the challenges and opportunities of building a brand.
The panel was moderated by Nimesh Shah, head maven and co-founder, Windchimes Communications. It consisted of Revant Bhate, head of marketing, Faasos, Shantanu Jha, chief executive
officer, Ziffi, Nikhil Rungta, chief marketing officer, Housing.com, Naveen Kukreja, Group chief marketing officer, PolicyBazaar, and managing director, PaisaBazaar.
The discussion started with Shah talking about the challenging times we lived in and one that offered us multiple choices of products and services, as well as technology. He said that over the years, media consumption had increased manifold, with attention spans being reduced dramatically.
The session had a fairly diverse line-up, with topics ranging from promoters’ personas and virtual window-shopping, to burning up money.
On how to build a brand in the start-up world
Insurance is about ‘what can go right’, and not ‘what could go wrong’
(From left): Nimesh Shah, Revant Bhate, Naveen Kukreja, Nikhil Rungta, and Shantanu Jha
Sanjay Tripathy
2 8 afaqs! Reporter, January 16-31, 2 0 1 6
At the event held in Mumbai, Sanjay Tripathy of HDFC Life lent insights on creating a new brand imagery for insurance.
At the afaqs! Brand Owners’ Summit held in Mumbai on December 9, 2015 Gayatri Yadav, head, marketing and
communications, Star TV Network India, took the audience through the network’s over two-decade journey in the country.
Yadav initiated the discussion with a talk on the principles of brand building, and its application to both products and people. Citing a model written by Saatchi and Saatchi’s Kevin Roberts, which suggests that brand building is about inspiring love and respect, she said, "Very often we know people who get only one of those, but not both."
Charting ‘love’ and ‘respect’ on an X-Y axis graph, Yadav explained, "Commodities that usually don’t have much differentiation are ‘low on love- low on respect’. Ranking ‘high on love- low on respect’ are for instance, restaurants, fashion brands and fads, that don’t stand the test of time, and 95 per cent of products fall into the ‘high on respect-low on love’ slot. High love-high respect lies where a brand or a ‘lovemark’ resides. If you think of yourself in that category, you have to think of building a strong core which earns respect, as well as build a brand personality one can love. Just 2-5 per cent of products out there fall in that slot, and the ‘lovemarks’ of today were also the ‘lovemarks’ of 20 years ago."
She added that Star has been the ‘nation’s storyteller’ for over 20 years.
"When I joined Star, I was blown by the unique challenge in content marketing. I learned that differentiation was the first mantra for brands, but here, that was not enough, you had to disrupt too."
Yadav said that in media, it’s critical to disrupt and not just differentiate, and the unique predicament here is that the consumer, at the point of consumption, has infinite choices with no switching cost. "Therefore, media is often termed as a business of big hits," she said.
Talking about dealing with an immensely diverse audience, Yadav said it was important to find that unifier or a clear lens and a point of view. "The filter for the brand then becomes about whether your content lives up to that point of view," she said.
Yadav also talked about television’s social impact, and referred to the
longitudinal study by the University of Chicago, that covered towns and cities across India for two years. The report suggested that within six months of the advent of cable television, some fundamental social changes had taken place such as higher autonomy and more decision-making power for women and an increase in enrolment of girls in schools. Yadav later took the audience through the plethora of positive reactions to actor Aamir Khan’s show Satyamev Jayate, to give a sense of its social impact, conveying the influence of television on society.
Yadav also added that it was important to aspire to be a market leader and yet be progressive enough to drive social change. She said, "At Star, CSR doesn’t just stand for corporate social responsibility, but also creative social responsibility."
Responding to the accusations of running ‘sequences’ that could suggest regressive attitudes, Yadav explained that those are out of context, and the larger story track looks at the bigger picture, and the overall journey of the character.
Speaking about the width and depth of Star’s viewer engagement, Yadav said, "Indians watch 20 hours of television a week. We reach about 65 crore people every month, and they spend about 45 minutes to an hour, every day with us. With 20,000 hours of content - that’s 20 times more than Bollywood and seven times more than the US TV industry, this is
all about potential and possibility."Yadav also took the audience through
India’s entertainment and cultural journey starting from the 90s -- from the opening up of its markets, the phase when Star made a big bang entry into Indian television sets, to Star’s influence on broadcast news in the early era. She said that the ‘age of renewal’ saw the economic boom, and that was when it was decided to go local. She added that this era included the launch of KBC and the ‘K serials’. The next era of Star saw a rewriting of the script, launching a sister competitive channel and encouraging kabaddi and football, which resulted in a 24 per cent market share.
According to Yadav, as a ‘storyteller’, Star needs to look at every avenue, since it’s a multi-screen world today. "We find that more screens have increased overall consumption for us, so it’s not a zero-sum game," said Yadav. She added that for mass broadcasters, content tends to be communal-family driven, and the personalisation of the mobile screen brought about the ‘go solo’ proposition with Hotstar, which has already reportedly crossed 35 million downloads since its February launch.
The ninth edition of the afaqs! Brand Owners’ Summit in Mumbai was powered by Amagi, with Wall Street as the outdoor partner, Kairali as the wellness partner, Furlenco as the furniture rental partner, and GainBuzz as its reach partner.
“Indians watch 20 hours of television a week, second only to sleeping”: Gayatri Yadav
2 9afaqs! Reporter, January 16-31, 2 0 1 6
According to Yadav, it’s critical to disrupt and not just differentiate in media, as the consumer, at the point of consumption, has infinite choices.
Gayatri Yadav
Shah touched upon a theme which was common to many start-ups, that of the promoter or founder’s persona leveraged back to the company’s brand. Rungta of Housing.com, took the discussion forward while he said, "Any one individual is never bigger than a company or a brand. In Housing, there were these energetic folks from IIT-Bombay who saw certain inefficiencies and consumer problems in the real-estate. It is a great product and as a consumer it doesn’t matter what the promoter’s persona is."
Kukreja of PolicyBazaar reasoned that in the earlier stages, the founder’s persona dominates because of his passion for the business, but once you cross that initial milestone, the brand takes over.
He discussed about the challenge of ‘virtual window-shopping’ where
consumers researched online, but purchased offline. "We like those consumers too, as they’ve had good experience with the brand, and we are confident of their return," he said.
The discussion then moved on to the subject of experience in the relevant business. Faasos’ Bhate spoke on the challenges that arose due to not having a marketing background or experience in the relevant business. He said that was what Faasos had done, to challenge what was done traditionally, and enabled them to come up with innovations such as a fridge magnet device where you can order food at the press of a button.
Bhate further spoke on customer experience management in a tough category. "Few people pre-plan food. We have a lot of checks and balances in place.
We also calculate delivery time as function of preparation time and distance, and that’s where the loop ends," said Bhate.
One part of the discussion also centred on the ‘burning of money’ that start-ups resort to. Jha commented that different phases had different sentiments, but today, there is a lot more consolidation and focus on real business. Kukreja cited Naukri.com’s example of managing costs and emerging as a steady sustainable business. Rungta also spoke about focussing on the product and said that marketing a product was essential.
Other speakers at the event included Karthi Marshan (Kotak Mahindra Group),Gourav Rakshit (Shaadi.com), Damodar Mall (Reliance Retail), Rahul daCunha (daCunha Communications) and Baskar Subramanian (amagi).
Marketing communications agency The Social Street, has appointed Deepak Singh as its
chief creative officer. He will report to Pratap Bose, agency’s founding partner and chairman. With an experience of over 15 years, Singh has worked with agencies such as Leo Burnett, Grey Worldwide, McCann Erickson, DDB Mudra, and Dentsu.
Cheil India has appointed Vijay Simha and Aneesh Jaisinghani as part of the senior creative leadership. They will report to the agency’s chief creative officer, Sagar Mahabaleshwar. Simha has over 16 years of experience in advertising and digital marketing. He has worked for Solutions-Digitas, Grey
Worldwide, Saatchi & Saatchi, Bates, and JWT. Jaisinghani joins from McCann World Group where he was the executive creative director.
Dentsu India has announced the promotion of Narayan Devanathan, Harjot Narang, Amit Wadhwa and C P Arora in various capacities. Prior to the elevation, Devanathan was CEO, Dentsu Creative Impact Group, as well as national planning director, Dentsu, North India. In his new role, he will take care of the two specialist units Dentsu Mama Lab and Citizen Dentsu.
Narang, who until now, was the branch head at Dentsu Marcom, will work towards growth-driven measures for Dentsu Marcom. Wadhwa, who in his previous role, the branch head at Dentsu Creative Impact, will now take charge of creative reputation for Dentsu Creative Impact, while Arora will take over as chief financial officer, Dentsu Aegis Network, North India. He was earlier group chief financial officer for Dentsu India’s branded agencies.
A round up of some major people movements in the last fortnight>> MOVEMENTS/APPOINTMENTS<<
Juggernaut, a book publishing start-up, has appointed Priya
Ramani, as editor-at-large for its digital list. Ramani has worked in leading publications including India Today, Elle, Indian Express and the news agency Reuters. A former editor of Cosmopolitan, she had also created and led Lounge, Mint’s weekend section, for eight years.
Madison Media Plus has appointed Anita Bose to head its Delhi office
as chief operating officer (COO). Bose has an experience of over 20 years, of which she has worked for 13 years with WPP media/Group M agencies as business director at Mindshare, general manager on Team LG, and general manager of MEC North. Bose has also worked for Starcom MediaVest as executive vice-president of Vivaki Exchange. She has had stints with FCB Ulka and McCann Erickson as well.
MEDIA
US-based dating app Tinder has
roped in Taru Kapoor as head of operations in India. Tinder will now expand its operations to India, its first international office. Based in Delhi, Kapoor will focus on establishing the brand in India steering user growth and engagement.
Digital professional network LinkedIn has appointed Akshay Kothari as country manager for India. He will report to Olivier Legrand, network’s managing director for the Asia-Pacific (APAC) region. Kothari joined the company
in 2013 when Pulse, the company he co-founded, was acquired by LinkedIn.
Idi Srinivas Murthy, senior vice president, marketing Snapdeal has quit. He will be taking an entrepreneurial plunge. Murthy had joined Snapdeal from
GlaxoSmithKline (GSK) in April 2015. Flipkart has announced changes in its
senior management. Sachin Bansal, CEO and co-founder of the company, will be the executive chairman. Binny Bansal, COO and co-founder of Flipkart, will be the chief executive officer.
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HARJOT NARANG
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AMIT WADHWA
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