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High marketing noise brings in numbers for IPL

When
Advertisementthe first data of the Indian Premier League (IPL) cricket tournament came out, senior media observers credited its roaring success on television to many factors – be its novelty, the media hype, star appearances or marketing. As per TAM Media Research, the first three matches of IPL got an all India average TVR of 5.57 (C&S 4+, All India). There are more to the impressive performance by IPL.
The first match between the Bangalore’s Royal Challengers and Kolkata’s Knight Riders on opening day, April 18, grabbed the highest TVR of 10.46 in Kolkata and 10.01 in Bangalore.A section of the media attribute this success to the star power of Shah Rukh Khan, while ones like Basabdutta Chowdhury, chief executive officer, Madison Media Plus, believe that Kolkata being a sports fanatic city provide high ratings for other international cricket matches even.
However, the role of on air promos also cannot be ruled out in the success of IPL matches. TAM analysis indicate that higher the duration and GRPs promos, higher is the TVR. For instance the Kolkata Knight Riders ran promos which consumed 46 per cent of the total airtime consumed by all IPL teams and its on air promos garnered 41 per cent of the total GRPs acquired by IPL promos. And the result could be seen from the viewership attained by the Knight Rider match. The audiences have also rooted for their city teams.
As per TAM data for the opening match, the minute on minute TVR in Kolkata started at around 7, peaked to 15 towards the close of the match and finished at around 11. In Bangalore, the minute on minute TVR opened at 11, reached a peak of 15 in about 15 minutes and gradually wound down to 7, as the city sensed that its team was losing. The match was won by the Kolkata Knight Riders.
Mahuya ChaturvediMahuya Chaturvedi, general manager, Lodestar Universal Media, also gives credit to the star factor associated with the team. “The Kolkata Knight Riders have it all – Bollywood (Shah Rukh Khan), cricket (the Kolkata crowd is known for its cricket fanaticism) and marketing. The mix of the three has brought in the entertainment value,” she says.So, what went wrong with the Indian Cricket League (ICL) floated by media tycoon Subhash Chandra’s Essel Group? The planners say that while the ICL got poor grounds to play in and next to no media hype, the IPL has more of an official status and many current international players playing for its teams.And yes, cricket is a man’s game.
The TAM data shows that clearly. In fact, the craze for cricket amongst men has only increased over time. Women’s contribution to the total viewership of the Cricket World Cup 2003 was 41 per cent; it gradually came down to 38 per cent during the World Cup of 2007, and to 37 per cent in the Twenty20 World Cup last year. Women form only 36 per cent of the total IPL viewership, taking the men’s percentage to 64 per cent from 59 per cent in the World Cup of 2003.Overall, it’s the 35+ audience that’s brought in the numbers (38 per cent), but that is a large group. What is more interesting to advertisers is the group of viewers in the 15-24 years’ age group – the numbers in this group has gone up during the current tournament, from 21 per cent for the Cricket World Cup 2003 to 27 per cent for the IPL.

TV advertising still important: ZenithOptimedia study

ZenithOptimedia


Advertisementhas released the results of its Touchpoints ROI Tracker study, the agency’s most extensive project undertaken to identify the power of individual consumer contact points to support leading brands. ZenithOptimedia has carried out more than 3,00,000 consumer interviews across 34 countries covering more than 4,000 brands. In India, it has conducted more than 10,000 interviews, covering more than 112 top brands in India across nine categories.Not surprisingly, a brief snapshot of the database reveals the growing power of the Internet as a key marketing vehicle. What is more baffling is that the influence of Internet marketing grows as consumers get older.
In India, the influence of touchpoints and the levels of overall brand recall which they generate are much higher than in the Asia Pacific or the US. While globally, the touchpoint with the greatest influence is Recommendation from Friends and Family, in India, it is Personal Use of the Brand. In traditional media, television advertising is still very important. It is 8 per cent more influential in India than in the Asia Pacific and 13 per cent more than in the US. In India, touchpoints such as Comparison Websites, In Store Demo and Specialist Recommendations would provide the best opportunities to differentiate.ZenithOptimedia’s findings for individual brand categories show that levels of brand experience generated per rupee are much higher for telecom advertisers than for automobile advertisers.However, the survey doesn’t just identify the power of individual touchpoints to support brands; it also reveals how much better some of these touchpoints can work in combination with each other. This is a vital piece of knowledge when planning integrated communications.The agency’s Dashboard of Global Norms offers marketers the chance to compare the power of all major communications channels across a variety of consumer groups, brand categories and regions.For the record, Touchpoints ROI Tracker is the consumer research based approach that ZenithOptimedia uses to measure and plan marketing effects across all consumer contacts. It identifies and quantifies the value of every consumer point of contact for a category and its brands, examining the role of each contact point in building brand preference and purchase intent. All forms of consumer contact are measured, including those at point of sale, point of consumption, one-to-one, word of mouth, sponsorship and events, the Internet and mass media.

Videocon scouting for creative agencies

Electronics


Advertisementmajor Videocon is currently in the midst of reviewing its creative duties. According to sources, the pitch is for Videocon’s entire product range (such as air-conditioners and refrigerators), as also for its corporate branding duties. Ad spends are pegged at upwards of Rs 150 crore, and some agencies have already made an initial pitch for the business.O&M is the incumbent agency on the account, but has reportedly stayed out of the pitch process. O&M had snagged the Videocon account from RK Swamy/BBDO in December 2006. At that point, the brand also underwent a positioning change – shedding its earlier thought of ‘The Indian Multinational’ to adopt ‘Whatever role life gives you, play it big’.
Frames from the Videocon corporatead created by O&M recentlyO&M released several ads for Videocon washing machines (‘Washes all kinds of dirt’), ACs (‘Dimaag ko thanda rakhe’) and televisions (‘The effects of sound’). A few months ago, O&M also worked on a mega wattage campaign for Videocon’s corporate branding – an ad featuring existing brand ambassador Shah Rukh Khan with the newer one, cricketer MS Dhoni. As cricket and Bollywood are two crazes in India, an elaborate plot of two brothers getting lost in a ‘mela’ was woven, with one becoming a film star (Dhoni) and the other a successful cricketer (Khan). After the melodrama of the duo meeting years later, Videocon’s tagline – Whatever role life gives you, play it big – comes into play.That ad, while gaining high media presence, didn’t sit too well with Videocon. According to a source from the company, O&M’s campaign, while very creative, didn’t translate into the expected sales/ brand building. On the other hand, a senior executive at O&M (who wishes to be unnamed) remarks that O&M received “mixed client briefs”. “At some points, the brand wanted to go mass, while at others, we were told to go for premium imagery,” says the executive. It is also learnt that when the Dhoni-SRK ad was first presented to Videocon, top level executives rejected the script, only to approve it later once it was shot and canned.When agencyfaqs! contacted Shekhar Jyoti, vice-president, marketing, Videocon, he had this to say: “Videocon is undergoing a management change currently, and only after the new team is in place towards mid-May, will I be able to comment on the review.” It is further learnt through sources that a senior level LG employee is likely to join Videocon. This new management will then take a call on which agency to hire. In all likelihood, Videocon’s creative duties are likely to be consolidated with one agency. The media duties are not under review; GroupM continues to handle them.

Saint Gobain: Say goodbye to air-conditioners?

Believe it or not, Saint Gobain, the glass brand which entered India more than a decade ago, recently launched Sun Ban, a solar control glass, which not only reduces the amount of sunlight that enters homes through windows, but also cuts down on the heat transmitted. “We came up with the name Sun Ban to make it generic to solar control glass – a relatively newer, under-advertised category in India,” says Dinesh Kumar, marketing manager, Saint Gobain Glass. In India, AIS and Modiguard are among the few brands that offer solar control glass.
Frames from the Saint Gobain adLowe, Saint Gobain’s agency since its entry in India, has created an ad which is functional in its approach, with the immediate task of creating awareness about the category, and the brand. The advertisement opens on the shot of an old man resting on his sofa, quite uncomfortable in the heat that is coming in from the open window. He begins to remove his vest because it is too hot. On seeing this, his wife who is working in the kitchen, reprimands him for doing so in front of the open window where anyone can see him. The old man is obviously too disturbed by the heat to pay heed to his wife’s argument and continues to take off his vest.
To save themselves from embarrassment, the old lady goes and closes the window. On turning back, she is shocked to see that her husband has not only put on more clothes, but is now shivering with cold (thanks to the heat being cut off by the window glass). As the old lady stares at the glass, the voiceover says, ‘Cuts the heat. Keeps you cool: Sun Ban Reflective Glass from Saint Gobain’. (Submit your opinion on this ad.)According to Deepa Geethakrishnan, group creative director, Lowe, the usability and practicality of the product was of prime importance in this ad. The old couple angle was used to add charm to the subtle exaggeration. “Old couples have a very different sort of chemistry,” she explains. “At some level, they are almost indifferent to what one person says to the other, and yet there is a beautiful bond that keeps them together.
”Another ad in the campaign has a Japanese girl who keeps fanning herself, making it impossible for a still photographer to click her photograph until Sun Ban comes to their relief. A third film in the series is under way.The product targets SEC AB, males, 25+ (as men tend to lead decisions on building/ construction items). The ad targets both direct consumers and builders.
The ad has been created by R Balakrishnan (chairman and chief creative officer, Lowe), Kevin d’Souza (senior vice-president), Vijay Xavier (associate V-P) and Sujith Sarkar (brand services director), apart from Geethekrishnan. The ad has been produced by MAD Films and directed by Francouise. The films were shot in Mumbai. Due to the nature of the product, summer was selected as the perfect time for launching this communication
. “Our success in our previous TVCs prompted us to use television as our primary medium this time again,” says R Subramanian, director, sales and marketing, Saint Gobain Glass India. For the record, French company Saint Gobain has created around eight television adverts ever since it entered India.
Memorable ones include those for its transparent glass (the waiter ‘Ha!’ ad, and the ad featuring a lady throwing cleaning water on the glass outside a restaurant, only to have the men inside flinch), and those for its mirrors, which showcased clarity of reflection (the ad in which a small boy entering a men’s toilet pisses on the reflection of the toilet, instead of the real thing).

Godrej: Change for the better

All good


Advertisementthings make way for even better things. And Godrej’s first ever corporate TV commercial echoes that thought. The creative agency for the company is JWT, and Agnello Dias (Aggie), national creative director at the agency, is the man behind the ad.The TVC seeks to tell the consumer that Godrej, one of the country’s largest business houses, has shed the bright red in its logo and given it a fresh blue-green-red look. The change in the logo colour symbolises Godrej’s new corporate identity and the refurbishment of its master brand; the aim is to consolidate its presence in the various business areas in which it is present – personal grooming, aerospace, property and lifestyle. With its splash of colours, the new logo retains the original font for reasons of continuity and empathy.
The film opens on a shot of a man dressed formally, standing alone in a room. The camera zips through a hall full of books. The man, the principal of a school, is in a pensive mood. He is talking to himself, “Respect, honour, integrity – it’s all hidden behind a wall – a good morning wall.” The principal is imagining students greeting him formally (but not with a happy look on their faces) from behind the walls of books. The camera cuts to the shot of a ruler, and in the next, zooms into a shot of the school emblem, which has respect, honour and integrity engraved on a shield. These shots represent the strong values propagated by the principal. He wears a determined expression on his face, showing that he has made up his mind, “Today, I’m going to open a door in the wall.” He takes off his tie and breaks the ruler into two. Pushing the door open, he steps out of his room.
A shot from the TVCNext, he is shown walking down the corridors of the school, and the students have an alarmed look on their faces. A casual, friendly “hi” takes the place of the earlier formal “good morning”. They can see that their school principal is not wearing a tie or a formal coat any more. Young boys are seen loosening their own ties. The principal walks around the school and smiles in relief, as he sees citrus green, sky blue and ruby red leaflets floating around. The three colours merge to form the revamped Godrej logo. The voiceover concludes, “If we open up, we can brighten up the world. Enjoy a brighter Godrej.” The film is backed all through by flute music. (Submit your opinion on this ad.)The communication brief given to JWT was based on the insight that consumers want change, but are boggled by the scope and pace of it, leading to issues of comprehension and affordability. Hence, there is “tension” within them. Innovations from a trusted brand like Godrej provide the best licence for them to embrace change boldly, as they no longer need to be evaluative and circumspect. The redefinition of the Godrej brand identity is not just an external logo change, it is a transformation in the attitude of the organisation itself. Anuj Mehra, vice-president, client services, JWT, says, “Earlier, Godrej didn’t seem to be a consumer driven organisation, but now, the company has put the consumer at the heart of its functions. A research study showed that consumers did not feel that Godrej could be part of their future outlook – this needed to be corrected. While retaining some of its core values of trust and reliability, it was important to make the brand expressive.”Mehra says, “Godrej was adding up to a specific brand, but every brand and category stood independently. With a unified logo, the company’s brands in other spaces, furniture, kitchens, etc., will also be able to leverage the biggest asset that the company has – the brand name Godrej, which stands for trust and reliability. Moreover, a consumer evaluates a brand along emotional lines, not rational lines – so, the brand needed to evolve.”Commenting on the creative of the film, Aggie says, “In the film, the “good morning wall” is a metaphorical expression of the barrier of formality that exists within the principal and his students. He loosens himself and breaks down the wall.”The film has been produced by Equinox Films and directed by Milind Dhaimade, the production house’s second hand (after Ram Madhvani). Amartya Raut, fondly known as Bobo, has composed the flute score. Godrej’s marketing spend is around Rs 30 crore.This is the first time that Godrej is undertaking a re-branding exercise of this sort. Ashutosh Tiwari, executive vice-president, strategic marketing, Godrej, reveals that most of the earlier changes in the company’s logo were for different parts of the group. In 2006, the company began to use red in its logo and harmonised the use of the logo across the group.Tiwari talks about the new logo as “a visual representation of the Godrej brand’s essence of ‘brighter living’”. “This brand essence resonates with our core consumer insights about Indians being highly optimistic. They have a strong belief in achievability, desirability, experience and, above all, expression of progress. This leads to the four value pillars of the brand: expression, progression, experience and empathy,” he explains. Dissecting the logo, Tiwari says citrus green is about expression, representing growth, harmony with nature and renewed life. Sky blue embodies progression – big ideas, blue sky thinking, technology and innovation. Ruby red reflects cherished experiences – passion, indulgence, energy and dynamism. The typeface connotes continuity, a strong sense of empathy built on the strong foundation of Godrej trust, he says.Interbrand, a UK based brand consultancy, has partnered Godrej in what is a significant refurbishment for the company. Tiwari says, “The entire project has been a result of powerful, continuous co-creation between Interbrand and the strategic marketing group of Godrej across consumer, employee and strategic perspectives. Additionally, Interbrand has played an extremely important leadership role in the design of the new visual identity across all its manifestations.”With innumerable options to choose from within India, Godrej chose to work with Interbrand, which does not have a presence in India. Why? Tiwari says, “The need was to have a partner who could complement Godrej’s strong strategic, brand and marketing capabilities. Omnicom’s Interbrand is the world’s premier agency in the arena of brand diagnostics and valuation. They approach the process of brand analysis and positioning with a strong emphasis on consumer perspective as against getting mired in hard, lag metrics alone. Additionally, their London office focuses a lot on strategy.”The corporate TVC talks about a brighter Godrej. The next campaigns will focus on the tasks undertaken by Godrej, which stand testimony to the company’s promise of enjoying a better Godrej. They will act as satellites to the core communication. The other set of campaigns, with the new logo and line of communication, is slated to be released within a fortnight.The IPL cricket tournament is the pivot around which Godrej’s media strategy revolves as of now. The company is also sponsoring the Godrej Life Banade Contest during the IPL matches. The company is looking at a number of media options, of which currently, television and outdoor can be seen. “We are actively considering cinema, on-ground and Internet,” Tiwari says. Godrej will also set up a new website soon for consumer engagement; the existing website has already been revamped.

Virgin Mobile sets foot in India with 2 great TV advertisments

have said this repeatedly earlier and I am saying it again. I love Indian TV advertisements. They not only pass across the message in those limited 10 seconds, but the fun element in it keeps the viewers wanting for more.
The 2 recent addtions to my favorite list are 2 maiden ads released by Virgin Mobile to set their footprint in India. Both of them are very funny and leaves viewers craving for more.

Brand Building is definitely an exercise

Brand Building over the new media is just an emphasis or a new route to the traditional media which means “Give customers what they want”. The business means the same today, as it was yesterday. However with the rising trends like Competition, Globalization and Virtualization, the options to reach consumers are broadened.
The simple steps to build a brand are to fulfil the requirement of the end users, relentless attention to make such brands and the third step that follows the two which is consumers become part of the marketing and sales force (Word of Mouth). Engaging customers in a way that value deliverance is the embedded keyword behind your core strategy is a concern, however leveraging customers’ value acceptance is given more priority

Indian TV advertisements: Very Creative and funny?

There is something I enjoy in India that most of the other people hate.
The Indian TV commercials.
I find them very very creative. Some of the best advertisements in recent years have been from Pepsi and Coke. The rivalry between these two soft drink giants in India has bought out the best of creativity in their TV commercials.
The Indian TV advertisement market size is estimated to touch 3 billion dollars (12,000 crore rupees) in year 2007.
The following advertisement is my choice of best creativity in Indian TV advertising. Many of the readers may not agree,however, according to me it has an exaggerated creativity and brand image that Happydent white chewing gums has created due to these ads is just amazing ! This one is actually third ad in their series. The earlier two got progressively better (The Photoflash by teeth and the Cow Teeth), but I thought this was way better than previous two and very expansive. I have not been in India in last year and half, so if there is another ad which has come in, please let me know !

INDIAN AD LEGENDS

Every country has its own legends in a given field. The Indian advertising industry has many all times greats who have contributed in various capacities to develop world-class creatives. This section in magindia.com is exclusively dedicated to those people who have made Indian brands popular not just in India but beyond, through their creative genius. Run through the entries (arranged alphabetically) in this section to view and admire their work, and definitely everyone in the advertising industry will have something to learn from these Ad Legends.

Every country has its own legends in a given field. The Indian advertising industry has many all times greats who have contributed in various capacities to develop world-class creatives. This section in magindia.com is exclusively dedicated to those people who have made Indian brands popular not just in India but beyond, through their creative genius. Run through the entries (arranged alphabetically) in this section to view and admire their work, and definitely everyone in the advertising industry will have something to learn from these Ad Legends.

*****

A G Krishnamurthy

Everybody knows A G Krishnamurthy as the Captain who steered his agency from a Rs. 35 lakh company to a Rs. 7 billion corporation in a remarkably short 23 years. But little is known of his considerable contribution in the agency’s creative reputation - doubling up as copywriter/art director and quite often even as creative director. Here is a sampling of AG Krishnamurthy’s own award-winning (The President of India’s 14 awards included!) ‘portfolio’.Awards: 1995-A&M Advertising Person of the Year1997-Inducted into the Hall of Fame, Ad Club, Calcutta 1998-Nominated as one of the 25 key figures in the international ad industry 1999-The Premnarayen Award by the AAAI

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Brendan Pereira

From his palette of skills, Brendan Pereira has been imparting knowledge to a wide audience over his 40 years in the business of art, advertising design and communications.His work with agencies in London and a stint as Brand Manager at Beecham's International, London, for a range of consumer products, created a firm base for the task of leading Aiyars Advertising in Bombay as Creative Director, and one of the first in the industry to be elected to the Board in that capacity. As Deputy Managing and Creative Director, he was one of the major shareholders who founded Chaitra Advertising, and led it on to produce some of the outstanding work of that era. Spreading his talent, he published his first book "Changing Faces" in 1999.

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Elsie Nanji

Elsie Nanji began her career in advertising 20 years ago. Since then she has been with O&M, Lintas, Enterprise and Ambience. Over the years, Elsie has amassed many awards, including an international award at the London International award and the art director of the year award in India for three consecutive years. She was selected as the first jury member at the Asia Pacific Adfest in Chiangmai, Thailand in 1997. From a creative director in Ambience, she became a partner in 1987. Ambience has been voted as one of the three top creative agencies in the country, by the Marg agency track, '95 and '97, for study conducted in every alternate year. Elsie still maintains that her best creative products are her two children Yohaan (6) and Aria (3)

Freddy Birdy

Freddy Birdy began his career around ten years ago at Enterprise. Has since worked in Rediffusion, Trikaya and Mudra. Is the only Indian Copywriter to win the coveted Copywriter of the Year award a record ten times. Has worked on campaigns for Thums Up, Vimal, Rasna, Lakme, Polo, Bata, Samsung, Yves St. Laurent, Mitsubishi Lancer and Sil jams. Loves travelling and good food, as is evident from his ample waistline

Gopi Kukde

Gopi Kukde obtained his Commercial Art Diploma in I Class from J.J. Institute and the Gold medal for his campaign for the film Meera, by Gulzar. After working for a decade with leading ad agencies like Chaitra, Clarion and Everest, he with two others founded Advertising Avenues in 1982. His creative brilliance is on show in the campaigns of Asian Paints, Glaxo, Stanrose Fabrics, Centaur Hotel, Hawkins pressure cooker to name just a few. At Avenues, he got to work on UFO Jeans, Skypak Couriers, Paan Pasand and Onida. He has produced and directed dozens of ad-films for Avenues on various brands. Gopi has won several CAG & Ad Club awards in appreciation of his creative talent.He also has special interest in the field of Ceramics and has a studio at Goregaon

Ivan Arthur

With more than 36 years in advertising and with most of his time at Hindustan Thompson, Ivan Arthur has been the brain behind many award-winning advertisements. Be it for Air India, Sunsilk, Clinic, Hamdard, Bombay Dyeing, Handyplast, Readers Digest, Haryana Breweries, Philips or others.
Deservedly inducted into CAG Hall of Fame, Ivan Arthur has been part of a 10-member international task force that designed and launched JWT's Total Branding Protocol that is now being used internationally.
A faculty member of a number of JWT international training programmes, Ivan has also addressed a number of national and international advertising groups including the Philippine Advertising Congress held in Subic Bay, The Advista Advertising Congress held in Cairo and all the Advertising Clubs in India.
He has also written a few books including a book on Bombay, a biography of Goa's industrialist - Mr PJ Menezes -entitled Once More Upon a Time and the Official Souvenir of Pope John Paul II's visit to India.

Naved Akhtar

Naved Akhtar began his career around twelve years ago. Has since worked in Clarion, McCann, Trikaya and Mudra. Has won the Art Director of the Year Award three times. Has worked on campaigns for Nescafe, Milkmaid, DCM Toyta, Gillete, Dunlop, Vimal, Rasna, Polo, Bata, Samsung, Yves St. Laurent, Mitsubishi Lancer and Otis. Is reputedly the coolest natured person in Indian Advertising.
Select the Brand APTC Bioslim Business Standard Business Standard-Weekend Curry on the Roof Defence Colony Market Lotus Bawa McDonald's Mitsubishi Lancer Polo Singer The Business Standard-Motoring The Indian Express(PS) The Pioneer(PS) The Sunday Observer Timeless-The Art Book Studio Turouoise Cottage

Panna Jain

Panna Jain's impressive itinerary includes working with Ogilvy & Mather in London, with Everest Advertising as an Art Director and with MCM as creative Director. Then followed a phase of Creative Consulting with some of India's leading advertising agencies, including Contract, Enterprise, Trikaya, Lintas and FCB-Ulka. Recipient of the Harold Nelson Prize by the London Country Council, the Air India Trophy and Campaign of the year Award jointly given by the Ad Club, CAG and RAPA among several others, Panna has one of his photographs included in the permanent collection of the Museum of Modern Art, New York, to his credit. At present, he is working on the final draft of a book on advertising creativity.

Subrata Bhowmick

Subrata Bhowmick is one of India’s leading graphics designers. Based at Ahmedabad, India, he has over the last 34 years, created workable and cost-saving design solutions. Which have won him 50 prestigious awards, including 18 President’s National Awards. His much lauded accomplishments straddle various fields - textiles, photography, environment, graphics, book design, and advertising. A frequent invitee to various international exhibitions, the World Graphic Biennale being one of them, Subrata represents India this year, as the Biennale’s prestigious ‘Guest of Honour’. In advertising, his work has contributed in building brands such as Cali-Cloth, Vimal, Dhara, Remanika, Deepam, and Handloom House, besides making them cherished and loved across a wide-cross section of people.

Sudarshan Dheer

With 20 years of experience, Dheer, the doyen of corporate design (identity programmes, communication projects, literature, packaging and Signage Systems), established Graphic Communication Concepts, his own design workshop, in 1974. Winner of several awards, his work has been exhibited and published at various International forums. With impressive Indian and international client list, Dheer is also an excellent orator participating in various seminars in India & abroad.

Sunil Mahadik

He began his advertising career as a visualiser with Trikaya nearly 20 years ago. He started an advertising agency called Equity with two colleagues in 1989, which later went on to become Nexus-Equity. He set up a design studio called FX Designs in 1992, which evolved into an accredited advertising agency - The Flagship Advertising Pvt. Ltd. by 1995.A JJ School alumnus, Sunil Mahadik, is at present managing director and creative head of The Flagship that won the A&M ‘Emerging Agency of the Year’ award in 1996. His eventful years with most of the reputed ad agencies in India have won him almost every award any Art Director could aspire to win. Some of the more prestigious among these include:A&M ‘Art Director of the Year’ in 1996 A&M ‘Art Director of the Year in 1997 ‘Art Director of the Year’ from the Communication Arts Guild (CAG), 1992 Bombay Ad Club’s ‘Advertising Campaign of the Year’, 1992 for Mother’s Recipe Pickles Mahadik has been a finalist at the International Advertising Awards, New York. His work has been featured in Luizer’s International Archive and other publications of repute.

Sunil Sen

After a good 33-year long innings in Shilpi Advertising as Art Director – involved in various media like print, film making, corporate exercises and book designing for various publishing houses – Sunil Sen retired from service in 1988.
But industrial giants like IPCL, Reliance, Castrol, Tata, Ingersoll-Rand continue to seek Sen out regularly for their corporate exercises even now.
An internationally reputed designer of exhibition stalls and pavilions, Sen has earned himself awards, acknowledgements, certificates and felicitations from national as well as international organisations. He has won 20 National Awards in designing and printing in 15 years. American Institute of Graphic Arts and Tokyo Chambers of Commerce have honoured Sen, who is also recipient of International Clio Awards for various brands. His Centaur Hotel advertising won him the first prize in the Asian Advertising Congress held in Sydney Australia 1977 and accolades for Indian Typography in the Artypo exhibition (Eindhoven).

IPL 20:20 Cricket - Manoranjan Ka Baap