18

Ogilvy India’s CEO’s toughness level is different.

Tata Starbucks and the new-age consumer.

Kunal JeswaniINTERVIEW

Even dreamers can make a healthy start to the day.

Health and WealthHH llthhKELLOGG

PLUSIAMAI

Talking their Language 10

VIRAL NOW

Conscience Call 10

MAX 2

Settling Down 22

IBN7

Primetime Makeover 22

2628 4

Manmeet VohraMINTERVIEW

How television content is changing language to cross borders seamlessly.

`100August 16-31, 2015 Volume 4, Issue 6

3afaqs! Reporter, August 16-31, 2 0 1 5

Volume 4, Issue 6This fortnight...EDITOR

Sreekant Khandekar

PUBLISHER Prasanna Singh

DEPUTY EDITOR Ashwini Gangal

SENIOR LAYOUT ARTISTVinay Dominic

PRODUCTION EXECUTIVEAndrias Kisku

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Cover Illustration Vinay Dominic

What the future holds for fashion and technology.

POINTS OF VIEWTaxi Services and CarsWill the likes of Uber and Ola hurt car sales in the country?

24

Is its latest communication actually breaking stereotypes.

The Make in India campaign beckons and BMW is game.

8

14 6

MEGLOWFair Play - or Not?

Engage with followers on Twitter, the Periscope style.

STAR PLUSReal Time Engagement

BMW INDIALocal Drive

MAXUS WHITEPAPERMonaz Todywala

YOODLEY VS PAPERBOATThe Imitation GameDabur’s new ready-to-drink range Hajmola Yoodley is set to go head to head with Paperboat

This Independence Day, we bring you a Cover Story that celebrates one of the most

frequently mentioned positives of our nation – its diversity, and unity therein. In

India, over 700 languages are spoken and for every 100 kilometers one traverses, the

dialect changes.

Now, look through the media and entertainment lens. The market is as splendidly

varied as the country. And dubbing affords cross-pollination of content across state

borders.

And here’s the best part – this is perhaps the most effective example to illustrate what

experts in the media industry mean when they make clichéd statements like ‘content is

king’, in seminars. If the content is good, it doesn’t matter which region it was originally

produced in.

Take for instance Baahubali, a film that has grossed over `500 crore at the box

office, in a matter of weeks. Few minutes into the film, it stops mattering that the actors

are moving their lips to Telugu, while one hears the dialogues in Hindi. It’s a bit like

how, a few pages into the first book, the realist stops noticing that the characters in JK

Rowling’s bestselling Harry Potter series are flying around on broomsticks.

It’s fascinating that language, something that helps us Indians forge instance and deep connections with one

another, and discriminate against one another as well, is a mere surface level factor in the context of entertainment.

Our Cover Story looks at how content birthed in one geography works across alien markets, and the

challenges involved in the process of re-packaging it. While for the most part, the ‘transportation’ is easy, there

are exceptions. In some states like Kerala, and to a more severe degree, Karnataka, content that is dubbed is not

encouraged; it poses a threat to local talent, goes the argument.

Thankfully, at a macro level, India, unlike many a nation, is wonderfully receptive to overseas content and

has no rules per se about dubbing it into local tongues. This has a lot to do with the fact that our local media and

entertainment industry is a thriving one. The business is not threatened by Hollywood.

Happy 69th.

18

Ogilvy India’s CEO’s toughness level is different.

Tata Starbucks and the new-age consumer.

Kunal JeswaniINTERVIEW

Even dreamers can make a healthy start to the day.

Health and WealthH lthH l hKELLOGG

PLUSIAMAI

Talking their Language 10

VIRAL NOW

Conscience Call 10

MAX 2

Settling Down 22

IBN7

Primetime Makeover 22

2628 4

Manmeet VohraMINTERVIEW

How television content is changing language to cross borders seamlessly.

`100August 16-31, 2015 Volume 4, Issue 6

CONTENTS27

Ashwini Gangalashwini.gangal@afaqs.com

25

Of the modern list of breakfast options, close to 75 per cent people across cities

perceive cereals to be good for kids and adults, informs a Kellogg’s study on ‘breakfast habits of Indians’. So far, so good for Kellogg’s ‘Anaaj ka Naashta’; but the revelation that only 3 per cent of the respondents regard breakfast as essential and most prefer it home-cooked, throws a spanner in the works for the cereal brand.

Adding to the challenge are the multiple breakfast brands like MTR, Quaker and even fruit juices like Tropicana, which claim to be ‘complete morning meals’.

To break the clutter, Kellogg has launched an ad campaign, ‘Bade Sapno ki Sahi Shuruat’ for its masterbrand, Kellogg’s Cornflakes. Executed by JWT, the campaign features Saina Nehwal and is based on the insight that the aspirational Indian dreams big, but unfortunately ignores the importance of starting right. This is also reflected in his/her breakfast habits.

Harpreet Singh Tibb, director, marketing, Kellogg India, says, “With this campaign, we aim to educate everyone that a solid, nutritious, grain-based start to the day is the way forward and the first step to making one’s dream come true. We wish to convert dreamers into achievers.”

The TVC shows instances such as a hardworking gentleman who aims to become the CEO, but is barking up the wrong tree. He starts his day with just a cup of tea, and with all the workload, is drained of energy at the end of the day. The second part of the commercial features a young aspiring astronaut, who also begins his day on incomplete nutrition with just a glass of milk. In the next part, Saina Nehwal is seen sharing her success and fitness mantra - a right

and healthy start to the day.Speaking about the TG, Tibb

informs that the campaign addresses all families that have big dreams and are looking at taking the first step to kick-start their journey. The TVC, being aired on national and regional GECs, news and kids channels, is part of a larger campaign which will run across print, digital (#FeedingDreams on Twitter, YouTube and Saavn), radio and outdoor (taxi branding and tie-up with radio cabs for sampling) media. Impact properties include ‘Jhalak Dikhla Jaa’ and ‘The Anupam Kher Show’ on Colors, ‘Dance Plus’ and three prime time shows on Star Plus and Zee’s ‘Baba Amte’.

Kellogg is one of the world’s leading cereal companies with popular brands like Kellogg’s, Keebler, Special K, Pringles, Kellogg’s Frosted Flakes, Pop-Tarts, Kellogg’s Corn Flakes, Rice Krispies, Cheez-It, Eggo and Mini-Wheats. It is known for its flagship brand Kellogg’s Corn Flakes, available in five variants to appeal to all family members. Kellogg’s Chocos (available in three variants) and Kellogg’s Honey Loops are meant for kids, while Kellogg’s Special K, Kellogg’s All Bran Wheat

Flakes, Kellogg’s Muesli (available in four variants) and Kellogg’s Oat-bites are designed for health conscious consumers.

Through its ‘Breakfasts for Better Days’ initiative, the company intends to provide one billion servings of cereal and snacks to children and families in need around the world, by the end of 2016.

GOOD START?

Kellogg says that its focus in India is primarily on educating

consumers about the importance of breakfast. But, as its own research shows, this is not going to be an easy

task. So, has the ready-to-eat cereal brand made the correct move, the ‘sahi shuruat’ to achieving its aim?

Spandan Mishra, head- strategic planning, Rediffusion Y&R, says that although the ad scores well on execution, the juxtaposition of big dreams with the brand is owned by the likes of Honda and Idea.

Mishra also finds the connect between the cereal and Saina Nehwal’s accomplishments “a classic advertising stretch.” He, however, adds that such intangible claims are the best way forward in these ‘testing times’, when the demolition of a 32-year-old power brand in just 10 days has changed the processed food category, fundamentally.

“Post Maggi, Kellogg isn’t even calling out its product name in the ad! By substituting ‘cornflakes’ with ‘anaaj ka naashta’, the company is acknowledging that it does not want its core TG - mothers and DINK (Double Income No Kids) homemakers - to see cornflakes with the same lens as noodles,” he infers.

In his opinion, even the time-tested benefit of ‘packed with iron and nutrients’ will come across as processed/artificial and, therefore, the “straight from anaaj” narrative is a good step forward.

“Breakfast may be the most important meal of the day, but to connect it to one’s life ambition is stretching it a bit too far,” says Sambit Mohanty, creative head, DDB Mudra North.

He also finds the celeb endorsement weak and slapped on to the narrative as if the two stories are jostling for space.

ashee.sharma@afaqs.com

Health is WealthKELLOGG INDIA

Kellogg’s campaign for its brand, Kellogg’s Cornflakes, urges the dreamer in every Indian to make a healthy start to the day. By Ashee Sharma

afaqs! Reporter, August 16-31, 20154

A T T I T U D E S O F BREAKFAST SKIPPERS VS BREAKFAST EATERS

B R E A K F A S T A T T I T U D E S

A HEALTHY START TO THE DAY

BREAKFAST SKIPPERS (PERCENTAGE)

BREAKFAST EATERS (PERCENTAGE)

I should eat breakfast whether I am hungry or not

57 73

It is alright to skip breakfast once in a while (once or twice a week), if you can manage till lunch time

72 58

Breakfast should be a complete meal like lunch or dinner

29 37

It is alright to skip breakfast everyday if you can manage till lunch time

26 13

PERCENTAGE OF RESPONDENTS WHO AGREE

Breakfast should be light 84

Breakfast should be home-cooked 91

Fruits add to the health quotient of breakfast 79

Heavy breakfast makes me feel lethargic 61

A breakfast that fills the stomach is a healthy breakfast

57, dominated by Delhi (71)

It is alright for children to skip breakfast if they have a packed mid-morning snack at school

20

Note: (a cross sectional study conducted in Mumbai, Delhi, Kolkata and Chennai with a sample size of 3600 subjects split across age groups of 8 to 40 plus years) Source: Kellogg India. Study conducted by Nirmala Niketan, Mumbai.

Tibb: starting right

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The debate around fairness creams advertising has been reignited with Meglow Fairness Cream’s commercial featuring

actor Emran Hashmi. The ad is being critiqued for trying to break stereotypes, albeit unsuccessfully. The category is notorious for producing racist ads and portraying dark skin as inferior.

Meglow Premium Fairness Cream for men, which was launched in 2006, is a brand from the house of Leeford Healthcare. Although the product has been in the market for several years, this is its first campaign on electronic media. The communication uses the tagline ‘Fair Hai’ and is conceptualised and executed by Razorblade Films.

The campaign features a protagonist who is disappointed about being continuously rejected on the professional front, when Hashmi comes around and suggests using ‘Meglow Premium Fairness Cream for Men’. With his newfound ‘nikhaar’ (a term consciously used instead of fairness), the protagonist confidently goes for an interview, and to the surprise of the viewer, is rejected again. Brand ambassador Hashmi reappears, reasoning that not fairness, but qualification is what gets you a job.

The narrative takes a turn, as he points out to

a girl nearby, hinting that while professional success may be out of bounds, personal life can be renewed none-the-less.

Critics have booed the ad, stating that it promises to be progressive and ends up as stereotypically regressive. Vivek Sharma, vice president, strategy, Leeford Healthcare, justifies, “The core idea of our communication is honesty. We are painting a realistic picture, where the rewards are reasonable.”

On being asked if the idea of ‘getting the girl’ makes the ad regressive, he comments, “A person who is more presentable is more likely to attract people, and that is a logical deduction. We observe it in our society on a regular basis.”

The brand’s broad TG is males between 15-44 years, not only in the urban market, but also in semi-urban and rural areas.

Fair skin has always been a

crucial attribute in the mindset of an average Indian, a factor which fairness category products have exploited in their communication since the category leader Unilever’s Fair & Lovely was introduced in the market in 1975.

The category penetrated deeper, with the launch of Emami’s Fair & Handsome in 2005, creating a new segment - fairness for men - of which Meglow is a part. However, as the communication remained backward, catering to conventional stereotypes, where personal success was linked to skin colour, academia and NGOs started voicing their dissent on the issue.

Simultaneously, ASCI also released guidelines for ‘fairness products’ advertising which states that the advertising should not reinforce negative

social stereotyping on the basis of skin colour.

FAIR OR UNFAIR?

According to Saurabh Uboweja, CEO and chief brand strategist,

Brands of Desire, the ad pretends to be progressive and unconventional, but is utterly regressive. “It may be a case of any publicity is good publicity,” he states.

Uboweja thinks the idea of being ‘fair and honest’ could have had a better script and execution.

Aditya Jaishankar, planning head, South, McCann India thinks while the communication shuns one stereotype, it reinforces the other. He concurs with Uboweja that a drastic change is needed in the way fairness creams are advertised. “Fairness can be portrayed more as a personal choice. It’s almost like the protagonist feels nice looking fairer, but that does not mean it is true for society at large,” he says.

aakriti.shrivastava@afaqs.com

Fair Play - or Not?MEGLOW PREMIUM FAIRNESS CREAM

In its latest communication, the fairness cream for men tries to break stereotypes? By Aakriti Shrivastava

Uboweja, Jaishankar: Unfair

Recently, Dabur India announced the launch of its ready-to-drink (RTD)

beverage range Hajmola Yoodley, positioned as an extension of its popular digestive brand Hajmola.

The flavours (ethnic), packaging (curvy stand-up pouches) and pricing (`30 per 250 ml) all resemble Paperboat, the two year-old brand from the house of Hector Beverages.

Hajmola Yoodley will be available in six variants - Ajooba Aam Panna, Nimboora Shikanji, Guava No. 1, Jazbaati Jaljeera, Golmaal Golgappa and Kabhi Kala Kabhi Khatta. Over the next six to 12 months, more flavours will be added. Paperboat’s flavours include Jamun Kala Khatta, Kokum, Golgappe Ka Pani, Aam Panna, Jaljeera, Aamras and Ginger Lemon Tea.

When asked about the overt resemblance to Paperboat, Sanjay Singal, marketing head, foods, Dabur India, says, “We sell nearly 800 crore tablets of Hajmola every year. Hajmola has 99 per cent penetration. We wanted to extend the brand to a liquid format. Yoodley is like ‘liquid Hajmola’. Through Yoodley, we’re leveraging Hajmola’s ‘chatpata equity’.”

Launched as a digestive tablet in the 1970s, brand Hajmola was later extended to the candy format. Last year, it was launched in pure confectionery form with Hajmola Chuzkara. Singal says about the flavours, “When you say ‘chatpata’, it has to be an ethnic drink. It’s a coincidence that Paperboat already has these flavours. We’ve taken inspiration from thela-walas selling aam panna, shikanji and golgappa.”

Yoodley and Paperboat operate in different markets, Singal insists. “Our ambition with Yoodley is not to target the organised market for these flavours; that market is very small - approximately `140-150 crore,” he says about the packaged ethnic drinks

market.“We’re not trying to take share

from any existing brand. We’re targeting the unorganised market... the market where the seller stands with a matka and sells these flavours on the street. Rather than taking share away from any player in the organised segment, we want to take share from the unorganised sector and bring it into the organised sector, through Yoodley,” says Singal, according to whom, the unorganised market is roughly ten times the size of the organised market.

A ‘JLT (just-like-that) mood drink’, Yoodley targets the 15-28 year old. During the test marketing phase, Yoodley will be made available across around 500 outlets, including airlines, schools, colleges and hotels. The product will go national around February next year. As of now, the media plan includes digital communication; the team has created an online initiative called ‘Yoodley Shararat University’. Communication across other media

platforms will accompany the national roll-out of the product.

YOODLEY VERSUS PAPERBOAT - BRAND

ANALYSIS

Brand consultants go as far as to call Dabur’s move “Paperboat

marketing” or “copy-cat marketing.” It reminds others of the Lay’s-versus-Balaji battle, because, despite the parity in price, Paperboat appears ‘classy’ and Yoodley, ‘massy’.

According to Harish Bijoor, brand expert and CEO, Harish Bijoor Consults Inc., a brand consultancy, the biggest disadvantage for Paperboat is that it is no longer unique. The second disadvantage is that Yoodley looks like a more “fun” brand, what with the accessorised faces and bright colours on the pack.

“The tone of the packaging communication is different. And that’s where Dabur is possibly attempting a more ‘massy’ play. If Paperboat is a Pepsi, Yoodley wants to be a Thums Up,” he says.

Bijoor is impressed with Dabur’s pricing strategy: “Had Dabur made the mistake of pricing Yoodley

lower than Paperboat, the consumer would’ve felt the product quality is inferior.”

What’s the immediate challenge facing team Paperboat?

“Paperboat needs to continue investing in its brand. Yoodley will take a while. Paperboat has a window period of four to six months to do this aggressively,” suggests Bijoor.

Should Paperboat worry about the reach and retail clout of Dabur? “Absolutely,” he asserts, pointing out, that given Dabur’s superior distribution and supply chain network - especially tier two and rural markets, where Paperboat will

take some time to reach - it will be seen as the pioneer in this category.

Shripad Nadkarni, co-founder, MarketGate, a brand consultancy, and investor in Hector Beverages, manufacturer of Paperboat, says, “In some way, it is a validation of this category being a big opportunity space.”

He’s not worried about market share just yet as it is still nascent “If Dabur, with its deep pockets, pumps money into this range, it will eventually help the category grow,” he notes.

He is, however, skeptical about Dabur’s claim that Yoodley is an extension of its candy (Hajmola). “Golgappa pani is an indulgence-related flavour,” he reasons.

He rationalises his reservations with a couple of questions: If Dabur is not competing with Paperboat, then why have the same packaging? If the thela-wala’s patrons are Yoodley’s TG, then why price it at `30 per 250 ml?

“I would not be surprised if it all boiled down to the modern trade outlet,” Nadkarni decodes.

ashwini.gangal@afaqs.com

The Imitation GameYOODLEY VS PAPERBOAT

As Dabur gears up to go to market with its new ready-to-drink ethnic drinks range Hajmola Yoodley, we take a look at its resemblance to Paperboat. By Ashwini Gangal

afaqs! Reporter, August 16-31, 20158

“We’re not trying to take share from any existing brand. We’re targeting

the unorganised market.”SANJAY SINGHAL

The increase in online local language content will lead to an increase of 39 per cent in the number of internet users,

states a report by the Internet and Mobile Association of India (IAMAI). Titled ‘Internet in Local Language’, executed in collaboration with IMRB International, the report highlights that rural India will be the primary driver of this growth (75 per cent), while in urban India, the growth will be 16 per cent.

The report finds that the local language user base is growing at 47 per cent, year-on-year, and reached 127 million in June 2015.

It further adds that communication, social networking and entertainment are the three primary reasons people access the internet. The report finds that majority of urban Indian users like to access internet for communication, whereas rural India users access internet for entertainment.

According to the report, the overall digital advertising spends in India will be `3,575 crore, by the end of December 2015. The proportion of digital ad spends in the local language will be 5 per cent of the entire market at `179 crore.

With the increasing availability of digital content in local languages, this share is expected to reach nearly 30 per cent of the overall digital advertising spends, by the year 2020.

Established in 2004, by leading online publishers, IAMAI represents the entire gamut of digital businesses in India. It is the only professional industry body representing the online and mobile VAS industry in India. It addresses the challenges facing the digital and online industry,

including mobile content and services, online publishing, mobile advertising, online advertising, e-commerce and mobile and digital payments, among others.

The association is registered under the Societies Act and is a recognised charity in Maharashtra. It has a membership of over 190 Indian and MNC companies and offices in Delhi, Mumbai and Bengaluru. It is well placed to work towards charting a growth path for the digital industry in India.

feedback@afaqs.com

IAMAI

Talking their LanguageThe proportion of digital ad spends in local language is expected to reach `179 crore by December 2015. By News Bureau

It is a no-brainer that young India croons to the songs belted out by new age rappers like

Yo Yo Honey Singh and Raftaar, but ever thought a rap song can actually promote a social cause? ‘Kodaikanal Won’t’, a song written and performed by Chennai-based rapper Sofia Ashraf and directed by Rathindran R Prasad has gone viral. The song, created by public mobilisation group Jhatkaa.org, ex-mercury workers association and the Chennai Solidarity Group, questions Unilever’s CEO Paul Polman’s silence on his company’s mercury contamination in Kodaikanal.

The video opens with a message, giving viewers the background.

It reads ‘Unilever dumped toxic mercury in Kodaikanal, poisoning its workers and the forest. In the past 14 years, Unilever has done nothing

to clean up the contamination and compensate its workers and their families, despite talking a big game about social responsibility’.

The peppy video, inspired by popular international rap artiste Nicki Minaj’s song ‘Anaconda’, features Sofia Ashraf belting out lines such as these - ‘Kodaikanal won’t step down until you make amends now’.

The rap goes on to describe Kodaikanal’s reputation as the princess of hill stations and how Unilever’s thermometer factory set

up in the region has devastated not just the flora and fauna, but also the lives of people inhabiting the place.

The video, posted on July 30, has already crossed over 2.5 million mark. As per Jhatkaa.org, the accompanying petition has surged to over 12,000 signatories so far. One can join the campaign by visiting Jhatkaa.org or leave a missed call on 8880109020.

Meanwhile Hindustan Unilever (HUL) also responded to the video by listing various studies that have been conducted since the factory’s closure which concluded that its former employees did not suffer ill-health due to the nature of their work. HUL also informed that in 2000/2001, it removed 7.4 tonnes of mercury-bearing glass scrap from the site and installed five silt traps to prevent any discharge of soil from the factory into the Pambar valley - the only direction from which water flows out of the site. The company has a dedicated page on its official website highlighting the break-down of the entire case from Unilever’s perspective.

saumya.tewari@afaqs.com

Conscience CallChennai-based Sofia Ashraf raps about toxic waste dumping by Unilever in Kodaikanal and the world is taking note. By Saumya Tewari

VIRAL NOW

afaqs! Reporter, August 16-31, 20151 0

The local language user base reached 127 million in

June 2015.

HIDESIGN The brand has launched its out-of-home campaign promoting ‘Sale up to 50 per cent off’ at south zone, Delhi to reach its target audience in the city. The duration of the campaign is 28 days.

CCreative Agency: In-House

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

DELTA ELECTRONICSThe brand has come up with an out-of-home campaign in Delhi by means of corporate branding through glass facade at Dhaula Kuan metro station of the Airport Express Line. The campaign will run for four months.

CCreative Agency: In-House

GAANA.COM‘Dil Ka Gaana’, the digital campaign launched by Gaana.com showcases the second part of ‘Ayaan meets Rhea at the metro station’ encounter. Their mutual love and admiration is shown reaching a new level as their choice of music is similar bringing them closer.

Creative Agency: M&C Saatchi, New Delhi

OOH DIGITAL

SCHMITTEN ‘‘There’s always a sweeter side’’ to the most untoward situations in life as well, is the message that luxury chocolate brand, Schmitten, has tried to convey in its latest TVC. The ad shows a man stuck in a hotel lobby, who tries every which way to get back to his room, but fails. He becomes happy as he finds Schmitten chocolates stacked in a corner.

Creative Agency: McCann

KIRLOSKARThe brand has come up with a unique TVC titled ‘invisible yet omnipresent’ where a man is shown making use of Kirloskar’s various products during different times of the day. Ranging from pumps, gensets, compressors and other products, the ad shows how the brand has been making lives simpler whether at home or at the workplace.

Creative Agency: Quadrant Communications

OPTICALSBAZAAR.COM The eye care brand has come out with print ads that seek to emphasise the fact, ‘’Poor vision leads to stress. Don’t let it change who you are.’’ The ad depicts an owl who starts seeing things differently due to defective eyesight, and hence the correct eye wear becomes necessary.

Creative Agency: JWT

MATHRUBHUMI The campaign is built around an obvious yet often overlooked insight, the Onam season in Kerala, that sets the stage for a ‘battle of the brands’. The ‘better position, bigger impact’ ad positions the media group as a major player in Kerala, which keeps Malayalees well-informed and helps brands target the affluent Malayalee through Mathrubhumi News.

Creative Agency: Maitri Advertising Works

JEEVANSATHI.COMWith an aim to communicate the shift in people’s changing outlook towards inter-regional marriages in India, Jeevansathi.com, an online marriage portal, has brought out eye-catching creatives that show marriage ceremonies between people from different parts of India.

Creative Agency: JWT

TELEVISION

SHOPCLUESThe latest ‘‘Gharwapasi Sale’’ ad from Shopclues compares two situations - one, where a woman is looking attentively at a momo stall from a car window and another where she looks at her phone that displays ‘‘Shopclues Weekdays 6-9 PM App Only Sale’’. The second proposition loaded with various offers is more profitable of course.

Creative Agency: Enormous Brands

PRINT

1 2 afaqs! Reporter, August 16-31, 2015

BMW, the German luxury carmaker, recently rolled out two campaigns - ‘Proud to Make in India’ and ‘Leave Your Mark’. While one

communicates to the audience that BMW is now aggressively localising its range of cars, thereby implying that it can now pass on the benefit to consumers, the other announces the launch of the Sports Activity Coupe (SAC), BMW X6, in India.

“The future belongs to India. If you want to benefit from the dynamics of the Indian market, you need to act today. Following our approach ‘production follows the market’, we have accelerated our localisation programme in India,” says Philipp von Sahr, president, BMW Group India.

The campaigns executed by Ogilvy and Mather, India, will run across television, print and digital mediums.

Frank-E. Schloeder, director, marketing, BMW India, informs that under the ‘Make in India’ programme, prices have been slashed by up to `5 lakh and this is what the new campaign aims to communicate. Admitting that India, as a market for luxury cars, is unpredictable and still relatively small as compared to the more mature markets like Germany and US, he says that the potential in the next 15-20 years is huge, owing to the population size and economic growth.

In 2012, BMW was the category leader in the ‘affordable luxury’ segment, before it ceded to its competitors, Audi and Mercedes. This was a result of reduced volumes, discounting and increased

pricing, a deliberate move by the automaker. Schloeder tells us that, although the company sold more units than others, the profits were declining. “All new car technology in the market comes ‘top-down’ from the luxury makers. The premium segment, thus, requires large investment in new technology. There is no point pushing margins to get to the top as the approach is not sustainable, and that’s why we stepped out of the game,” he explains.

In order to tackle the situation, the company shifted focus to localisation (which has now been increased to 50 per cent) and high-end models, during the next couple of years. Today, it is better equipped to “strike back and start growing again.”

How? The strategy, Schloeder informs, is based

on three pillars - product, brand and footprint/accessibility at the local level. In line with the growing popularity of sedans and SUV/SAVs in India, BMW launched the X6, another addition to the X range of SAVs (Sports Activity Vehicles). Emphasising on the need for strong product offerings in the entry segment, he points out, “98 per cent of the market in India is below 20 lakhs, and most our business starts above 30. So, there is a product/price range in between where we see a lot of potential.” To exploit this opportunity, the company will augment the production of models like X1, which were “slowed down in the last two years because of critical profitability.”

On the brand front, while mass media like television, print and digital work well, according to Schloeder, BTL communication is equally

important in the luxury space. Simply sending out a message is not effective, and a lot of effort needs to be put in bringing the audience closer to the brand. “Media in India is really expensive. As a premium manufacturer, our audience is only 1-2 per cent of the total population and is distributed throughout the country. Unlike Korea, for instance, where 75 per cent of our audience is located in and around Seoul, India is a very fragmented market. Therefore, we have to be very careful with our media spends,” he shares.

The brand invests in print and television in the country, because it believes that India is among the few markets where newspapers are still relevant and growing. The ‘Bollywood advantage’ helps in producing high-quality commercials at low costs. In addition to having a digital presence, BMW does a lot of events at the local level. For instance, in the ‘BMW Experience Tour’, cars are driven with a huge set-up and professional instructors to different cities (including tier II and III cities), such that the audience can get a chance to experience the drive. This year, the tour will cover 18 cities.

To expand footprint and accessibility of the product at the local level, BMW is investing in growing its dealer network across cities in India.

The brand’s TG is divided into two broad segments - those who have been traditionally rich and have experienced luxury, and second being the rising upper class, which is generally younger. “They are winners who want to create their own future. With the growth of the Indian economy, they will gain more importance, and I foresee them as the biggest contributors to the business in the next 15 to 20 years,” Schloeder states.

BMW’s last campaign, ‘Don’t Postpone Joy’, which urged the young to seize the moment, addressed this upcoming market. It was based on the insight that people in India have very different priorities in terms of where to spend the money. They plan for contingencies and as a long-standing tradition, would prefer to invest in education, weddings, real estate, jewellery or a health insurance. “Good marketing starts with a sound understanding of the customer psychology and motives. The concept of indulgence, it seems, is not yet established in the Indian mindset and luxury comes very late in life. At BMW, we are challenging this psyche,” says Schloeder.

But, old habits die hard. Hence, the brand makes sure it catches its audience wherever they are. From digital initiatives like ‘BMW Stories’ on Facebook, Twitter and YouTube, to being a part of the ‘BMW India Bridal Fashion Week’, being seen at golf courses and in ‘Mission Impossible 5’, BMW is present where the affluent flock.

ashee.sharma@afaqs.com

BMW INDIA

Local DriveFrank-E. Schloeder, director marketing - BMW India, on the recent ‘BMW. Proud to Make in India’ campaign, the brand’s TG, media play and more. By Ashee Sharma

The Indian market for luxury cars is

unpredictable.

afaqs! Reporter, August 16-31, 20151 4

Von Sahr and Schloeder: thinking local

The general entertainment genre is a difficult one to survive in. If it is the most viewed, it is also the most

expensive, both for producers and advertisers. And since it is the daily soaps that make a GEC, channels have to find ways to beat costs and also win over viewers with newer soaps.

While all channels produce daily soaps, Tamil GEC Polimer TV literally survives on a ‘dubbed’ model. The fiction shows aired on the six-year-old channel are all acquired from Hindi GECs. Shows like Bade Achche Lagte Hain (Ullam Kollai Poguthada), Na Bole Tum Na Maine Kuch Kaha (Nenjam Pesuthe), Sasural Simar Ka (Moondru Mudichu), Bhagya Vidhata (Saamipottamudichu), 24, Jassi Jaisi Koi Nahi (Sakthi Pola Yarumilla) and Madhubala are all aired on the channel. Having said that, the channel airs non-fiction and reality shows to add local flavour. Polimer TV thrives on the dubbed format and claims to be the third biggest player in the market after Sun TV and Vijay TV.

Dubbing and remaking international content has been going on for long. Not only did this practice open the gates for fiction content to

cross borders, it also attracted non-fiction and reality with the launch of shows like Kaun Banega Crorepati (the Indian adaptation of Who Wants to be a Millionaire?), Jhalak Dikhhla Jaa (Strictly Come Dancing), and Bigg Boss (Indian adaptation of Big Brother).

What is interesting is that the Indian television market which was feeding on international shows and formats has over the years also started exploring ways to leverage content within different markets in the country.

A ‘FILMY’ BEGINNING

Hindi GECs have good content and being the most viewed

genre, a majority of the advertiser money goes into it. This explains why there is no compromise on the quality of content delivered. For a regular show on Hindi GECs, the channel is estimated to shell out around `8-10 lakh per half-hour episode, which is much higher than what players in the regional market can afford. Regional channels are estimated to spend `1-3 lakh per episode.

Experts believe that Indian TV viewers are welcoming dubbed

content. All they want is good quality entertainment. According to Anand Chakravarty, managing partner, Maxus, the success of dubbed content really started with films. “The Indian audience has changed over the years and is far more acceptable of content as far as it is in their local language. It doesn’t matter if the protagonist looks like them or not. If the content is relatable and resonates with them, it works,” he shares.

Such shows work well in the Tamil and Telugu markets. Not many Hindi shows are dubbed in Marathi and Bengali because of the overlap in viewership. Sharada

Sunder, EVP, regional channels at ZEEL avers that a network like Zee, which has taken its Hindi shows to regional markets has refrained from Bengali. “We have a strong lineup and there is lot of Bengali literature to dip into (Zee Bangla is now airing Chokher Bali, for instance). Having said that, we do keep our eyes and ears open if there is something more interesting in the network.”

Are there any rules for picking up content for dubbing? Explains Sunder, “I have to be very careful that it should not be very different or jarring than what the culture of a region is. If I’m picking a Hindi show for Tamil market, I need to make sure that the story is in sync with the moral values and fabric of the Tamil Nadu market. The dress or the backdrop should not alienate.”

Also, all content will not work in all languages. Some content is specific to regions. For example, a Shivaji-based show will work well in certain markets like Maharashtra. Content like this - historical and mythological - has to be relevant to the cultural backgrounds of the viewers. But comedy, for example, or English action, works well across markets in India.

Sony Aath, the Bengali entertainment channel from the MSM stable has been airing a few shows picked from its sister channels like Sony Entertainment Television and dubbed in local languages. Crime

Patrol, Adaalat, Aahat are part of the channel’s FPC. Karnataka, reportedly, is the only state where dubbed content is not allowed. The market sees it as a threat to local talent. Even in Kerala, dubbed content doesn’t get much encouragement.

LEADING THE WAY

PV Kalyanasundaram, chairman and managing director, Polimer

Media explains that at the time when the channel was launched, the fiction content in the Tamil market was very different as it used to be negative, talked about illegitimate relationships and other negative topics that mostly

It all started when English entertainment channels started running subtitles, around seven or eight years ago, to expand the viewership base. The reality is

that there are many Indians who still find it difficult to pick up the English accent and subtitles works very well for them.

The industry estimates that the viewership of the English genre (movies and GEC) has grown by 20-25 per cent since channels started airing subtitles. Having said that, the top eight metros still form the largest viewership chunk for English content.

Amogh Dusad, SVP and head, programming and acquisitions, Sony Pix and AXN, says, ‘‘Titling comes as a big positive for the viewers, in context of content which has strong cultural accent or fast delivery of dialogues where consumers are not able to follow the audio, subtitles comes as a big boon for them.’’

THE ERA OF SUBTITLING

1 8 afaqs! Reporter, August 16-31, 2 0 1 5

How television content is changing language to cross borders seamlessly. By Prachi Srivastava

catered to the lower class in the strata. “We thought of launching content which could be more positive than what was being offered. We opted for dubbed content as it was cheaper.”

He also adds that there was a dearth of creative talent in Tamil television market as most of the creative people moved to Tamil Cinema. “In the Hindi market, the production quality was good and hence it was more viable to acquire that content. Lot of creative people were working in that market and the content was richer than Tamil at the time we launched. We produce non-fiction ourselves and will soon be looking at our own fiction content as well,” adds Kalyanasundaram.

Though he refuses to divulge any financial information, sources say that the cost that goes behind airing one dubbed episode on Polimer TV is almost half of what the original episode would cost. As for the advertising cost, it still depends on the viewership of the show, irrespective of its origin.

While all these years, regional markets have taken fictional content from the Hindi market, it has rarely been the other way round. It is only recently that Zee TV picked two shows from its sister channel Zee Marathi and dubbed them in Hindi for its audience. However, the two shows - Mohe Piya Milenge (in Marathi as Julun Yeti Reshimgaathi) and Mile Sur Mera Tumhara (in Marathi as Eka Lagnachi Teesri Goshta) are not shown in the evening prime-time band. They are slotted for leaner periods.

According to Abhishek Rege, COO, Television, Endemol India, if one is catering to markets like Hindi and dubbing content then the content has to be of super high quality or it has to be different. “I don’t think regional daily soaps dubbed in Hindi can be successful in the long term. Movies yes. Telugu and Tamil movies are fun to look at even when dubbed in Hindi or I’ll watch Hollywood dubbed in Hindi - it is by far better quality. For TV one has to be very careful. Channels have to deliver better content for bigger and more mature market. Dubbing shows and airing them is more for low value market,” he says.

LOCAL VS IMPORTED

While fiction can be dubbed without actually remaking,

non-fiction shows are usually remade to give local essence and relatability. The first-of-its-kind was the adaptation of Zee Bangla’s Dance Bangla Dance (2008) by Zee TV in 2009 as Dance India Dance. The show became a huge success instantly.

Another homegrown property, Sa Re Ga Ma Pa, is being adapted in various other markets like Zee Punjabi (as Sa Re Ga Ma Pa) and Zee Bangla (as Sa Re Ga Ma Pa Gane Gane Tomar Mone).

What do broadcasters have to keep in mind when they remake a show? Explains Raj Nayak, CEO, Colors, “Cost effectiveness and production quality are two things that should be considered. For those remaking the content, there is a reduction in cost of creation since they gain access to previously created content which only needs to be adapted for their viewer segment. A fixed storyline and screenplay makes it easier for the channel since there are easy reference points. This further aids cost effectiveness because the broadcaster saves cost of investment in software development as well as manpower.”

Three shows from the Colors bouquet of offerings have been remade for regional audiences on Colors Kannada - Uttaran, Balika Vadhu and Madhubala. Uttaran has been remade for Colors Marathi. The feedback for these shows, according to Nayak, has been tremendous from viewers, and since their launch on the channel a couple of years back, they have steadily climbed the popularity charts.

As for the reverse trend in the fiction genre, Sasural Genda Phool is one of the best examples. Star Plus’ hit show was a remake of a popular Bengali serial ‘Ogo Bodhu Sundori’ that was aired on sister channel, Star Jalsha. The show was also dubbed in Telugu as Attarillu for MAA TV and in Tamil as Nandhavanam for Star Vijay. Satrangi Sasural on Zee TV is another example. It is an adaption of the Zee Marathi’s show ‘Honar Sun Me Hya Gharchi’ and is running successfully on the national channel.

While the content play on television pleases the broadcasters, the production houses that create these shows don’t find that satisfaction. A majority of the TV programmes produced in India are commissioned, which means that the IP rights for the content and the characters remain with the broadcaster. Increasingly, content producers are recognising the need for owning IP rights for content so as to monetise it better.

As far as advertising is concerned, experts believe that it is ultimately the eyeballs that the advertiser is buying. Therefore, whether it is a dubbed show or a remake doesn’t matter as far as it is delivering the audience the brand needs. “Channels just need to redefine the content to make it relevant to the local culture. Shows

1 9afaqs! Reporter, August 16-31, 2 0 1 5

(A sample of successful dubbed shows in various languages)

(Remakes of popular shows in various languages)

Star Plus’ Mahabharat

is Mahabha-ratham on

Asianet

Colors’ Balika Vadhu

is Mann Vaasanai on

Raj TV

CIDis

CID Karnataka

Colors’ Madhubala as Ashwini Nakshatra on Colors Kannada

Colors’ Udaan as Poovizhi Vaasaliley on Raj TV

Bade Achche Lagte Hai

Ullam Kollai Poguthada

Colors’ Balika

Vadhu as Gouridan on Colors

Bangla

Dance India Dance on Zee TVand

Dance Bangla Dance>>

like KBC and Big Boss raised the budget of regional shows due to the format and the regional celeb hosting the show. It’s a calculated risk, but the chances of failure of these shows are less due to the known format,” shares Imran Karim, national trading head, Motivator. He also adds that dubbed content is not a new story in Indian television. “The kids’ channels pioneered the popularity of dubbed content followed by Hollywood movies. Zee TV pioneered the adaptation of regional content when

they remade the popular Tamil daily soap ‘‘Chithi’’ as ‘‘Choti Maa’’ on Zee TV,’’ he says.

GAINING IN POPULARITY

A 2015 FICCI-KPMG Report reveals that many TV channels

are shifting to dubbed versions of regional films to be telecast in prime time as they are comparatively cost effective. The cost of acquiring leading high budget South Indian films in their respective languages lies in the range of `13-32 crore. For instance, Lingaa was acquired by Jaya TV for `32 crore, a record price.

Neeraj Vyas, senior EVP and business head, Sony Max, Max2 and Sony Mix adds that of all the

dubbed movie content aired in the Hindi movie genre, 90 per cent is from Telugu cinema. The trend is believed to have started 5-6 years back by the television channels, though dubbing movies for the Hindi market started in theatres first. Most of the South Indian movies on channels like Sony Max, Zee Cinema are action movies.

“If you see the kind of movies that work, even today, the quality that gets churned out in the South in terms of the technical or the scenic is unbelievable. The latest example is Baahubali. It looks like a film made in Hollywood. These dubbed movies then act as a novelty of our FPC,” Vyas adds. Robot, Magadheera

and the Don series are all well rated movies on Hindi movie channels. When it comes to viewership of South Indian movies, they are predominantly male oriented as a large chunk of them come from non-metro markets.

Generally, Hindi movie channels acquire around 6-8 South Indian movies to dub for HSM. However, the success rate of South Indian dubbed movies is higher than English movies dubbed in Hindi. It is also believed that only the action genre works in dubbed movie content. It remains to be seen when that interest translates - or is dubbed - to other genres as successfully.

feedback@afaqs.com

afaqs! Reporter, August 16-31, 20152 0

In the midst of fierce competition amongst advertising agencies, International Advertising Association (IAA), in collaboration with Delhi

Advertising Club (DAC), organised an event titled ‘Emerging Agencies - Challenges and Opportunities’ at The Lalit New Delhi on August 7.

The event, sponsored by The Free Press Journal, highlighted the challenges and opportunities that exist in the advertising landscape, particularly for the emerging agencies, in order to narrow down the gap between what agencies are working on, and what the clients expect from them. Among the speakers were prominent names from the industry including Sam Balsara (chairman, Madison World), Amarjit Singh Batra (founder and CEO- South Asia, OLX), Sapna Chadha (head - SMB, Google India) and Srinivasan K Swamy (chairman, RK Swamy BBDO).

At the event, Balsara narrated what he likes to call the “David vs. Goliath story of an advertising agency in India” - the story of Madison World. He advised the emerging agencies, who must compete against global champions, to “think small if they have to beat the big.” To elucidate his theory, Balsara shared some of the core principles that have, over time, evolved as the ‘immutable laws of Madison’. These include innovation, domain specialisation, focus on professional goals, organisation building and integration of technology in operations.

Often addressed as ‘dotcommers’, the online businesses have very different expectations from

agencies, and these were simply put forward in a presentation titled “Adworld of the dotcommers,” by OLX’s Batra. He urged the ad world to treat online businesses differently, because their needs are not the same as traditional brick and mortar companies. “Take us seriously as a business and come to us with insight-driven ideas that are not

just creative, but will also help us differentiate our products from others in the online space. Be original, experiment and share the risk with us,” he said, addressing the advertising professionals among the audience.

Speaking about ‘digital opportunities for agencies’ in India, Sapna Chadha of Google India said, “We are witnessing ‘moonshots’ here.” By moonshots, she meant that the growth and change in online trends in the country has been manifold. As per Google’s research, the next billion to the three billion internet users worldwide will be added in less than five years by India, Brazil and Indonesia collectively. What’s unique about India is the fact that for 65 per cent of users, mobile is the primary internet device. “While the world is mobile first, India is only mobile,” stated Chadha.

As the head of SMB, she informed that Google’s aim is to bring the 51 million small and medium businesses in India online. To accomplish this task, the company works towards empowering agencies through its ‘Google Partners’ initiative and the ‘Catalyst Programme’. The assistance provided includes basic education, training in online business analytics and, at times, even a co-pitch.

The event concluded with additional insight on the subject by Srinivasan K Swamy.

The IAA, headquartered in New York, is an integrated advertising trade association with membership representing advertising agencies and the media. It comprises corporate and organisational members and educational affiliates. as well as 56 chapters with individual members and young professionals from 76 countries.

Founded in 1969, Delhi Advertising Club claims to have 281 life members and 228 ordinary members who are senior executives from leading organisations, advertising agencies and media properties.

ashee.sharma@afaqs.com

Future ReadyIAA

Experts from the advertising and digital industry spoke on the challenges and opportunities for emerging agencies at an event organised by the International Advertising Association. By Ashee Sharma

“The emerging agencies must

compete against the global

champions.” SAM BALSARA

“Take us seriously as a business and come to us with insight-driven

ideas.” AMARJIT SINGH

BATRA

“The growth and change in online

trends in the country has been

manifold.” SAPNA CHADHA

SUSH

IL K

UMAR

SUSH

IL K

UMAR

SUSH

IL K

UMAR

Dubbed..<<

Sony Max 2, one of the Hindi movie channels from Multi Screen Media, has completed a year and is aiming to break even by the end

of 2015.The channel, which launched in June 2014,

airs evergreen movies from 1970s to 1990s. Max 2 shares a movie library of over 1000 movies with sister channel Sony Max; however, head of the channels, Neeraj Vyas (senior EVP and business head, Sony Mix, Sony Max and Max 2), claims that there is hardly any overlap in the movies aired on the two channels.

“It is so because the two cater to different mindsets. Max 2 is for a slightly older audience, say 25+, though we would want more people to watch it. We are getting the audience we are targetting bang on and also getting family viewing, considering India is largely a single TV household,” he adds.

According to Vyas, in the Hindi movie genre, the channels that play older movies collectively garnered only 30-40 GRPs when Max 2 was launched. The number has risen to 100 GRPs today and Max 2 contributes 40-45 GRPs, he says.

As per BARC data (GVMs, All 4+ Individuals, HSM, Wk. 21-28 2015), Max 2 leads among the second rung movie channels with 65 GVMs on the back of higher time spent per viewer. It is followed by Zee Classic, Zee Action and B4U Movies.

“The viewership numbers are just the icing on the cake. The real happiness comes from the fact that we have managed to rekindle a genre that was for long dead and buried, simply because it never got the kind of respect it should have got. We have brought to life a concept of magical, evergreen movies,” Vyas comments.

Max 2 has received a positive response across markets like Maharashtra, Gujarat, Madhya Pradesh, Kolkata and Delhi. Interestingly, it has not done very

well in UP. Citing the reason for the same, Vyas says, “It is a huge market and to resonate with UP will take time. Interiors are not coming in yet, but Lucknow and Kanpur are.” Films such as ‘Satte Pe Satta’, ‘Aradhana’ and ‘Chupke Chupke’ have done extremely well in their repeats.

Unlike other movie channels, he informs, Max 2 has lesser male skew - its male-female ratio is 55:45, while other channels’ is 70:30. Besides the movies, he attributes the success of the channel to the way it has been presented to viewers - as a tribute to evergreen movies and not just “pick a movie and air it.”

Max 2 has formulated a lot of peripheral programming as well. Short format properties like ‘Take 2’ and ‘Sitaare’ feature trivia and actors’ journeys, and seem to enjoy good viewership.

Classics from regional cinema will also find a place on Max 2. Vyas says, “There is a lot of great cinema out there. Going ahead, it’s something we will not shy away from. If the dubbing and quality of the movie is good, then classics in all languages should deserve a slot somewhere. It will definitely not get mass viewership that a ‘Kabhi Kabhi’ or ‘Silsila’ will, but it is something that needs to be done and promoted in the right way.”

Sony Max 2, since its launch, has upped its ad rates by 25 per cent. As for the marketing, since the channel has a ‘tight budget’, it implements

BTL activities, essentially in the HSM markets, under the ‘Film, Family and Fun’ theme. Launched last year, it reaches out to a large audience by engaging with and entertaining masses in a filmy manner in LC1 towns of Maharashtra, Uttar Pradesh and Madhya Pradesh.

“We have achieved the threshold level of delivery as far as the audiences are concerned; now it’s about how much we can ramp up our advertising rates,” Vyas says.

prachi.srivastava@afaqs.com

The channel, which completed a year in June this year, aims to break even by the end of 2015. By Prachi Srivastava

MAX 2

Settling Down

Vyas: rekindling genre

FOTO

CORP

afaqs! Reporter, August 16-31, 20152 2

Hindi news channel IBN7 has given its evening prime time programming a makeover. It has

revamped its 8 pm to 10 pm time band with a new show ‘Hum Toh Poochenge’, while existing shows ‘India 9 Baje’, ‘Danaadan’ and ‘Criminal’ have been given a new look and packaging.

‘Hum Toh Poochenge’ is now the channel’s flagship show, hosted by IBN7’s deputy managing editor, Sumit Awasthi. The show aims to provide viewers with an “incomparable” insight on the latest happenings. It focusses on the two biggest

‘Topics of the Day’ - featuring an intense debate for half-an-hour on each topic being showcased.

The channel will also be inviting viewers to give their views/questions using various touch points like Twitter, Facebook, SMS and the channel’s website IBNKhabar, to ensure that the show is truly interactive.

‘India 9 Baje’, ‘Danaadan’ and ‘Criminal’ are the other tent-pole properties of the channel during prime time which will be seen in a new avatar - fresh graphics, de-cluttered packaging that will make for engaging and compelling viewing.

The channel believes that these revamped shows will resonate tremendously with the audiences.

feedback@afaqs.com

Prime Time MakeoverThe channel is launching a show called ‘Hum Toh Poochenge’, while revamping three existing shows. By News Bureau

IBN7

Awasthi: talking tough

The channel has revamped its 8 pm to

10 pm time band.

Will the Likes of Uber and Ola

Hurt Car Sales?

THESE SERVICES ARE ACTUALLY A SOLUTION FOR CAR BUYING EXPERIENCE IN INDIA. IT IS AN EXTENSION OF HOW THE CAR SALES WILL HAPPEN IN THE market. Consumers, today, must have alternative mode of ownership, which may not mean committing to own the vehicle, but the product being available to them all the time. This is where the concept of car renting and sharing stemmed from. Globally, wherever this has happened, it has created an interesting dimension for car manufacturers to sell their vehicles.

For the longest time, the only way to own a car was when an individual earned enough. Services like ours are expanding the market, allowing the consumer to experience driving, and these will be the probable customers for automobile companies.

CAB HAILING, TRIP SHARING AND CAR B2C RENTAL SERVICES WOULD DEFINITELY CAPTURE A LOT OF NEED HITHERTO UNTAPPED AND UNFULFILLED.However, in the short to mid-term, they will not have any significant impact on car sales or ownerships in India. This flows from multiple reasons - India still remains the most under-penetrated country with respect to car ownership, the entire ecosystem of these services needs to stabilise.

India is an extremely value conscious market. While the entry level pricing of an Uber may be enticing, the moment the rates go up in future, expect a lowered retention. Millions of households who would enter the middle-class would want to cherish their ownership of a car which is a status symbol. Lastly, govern-ment thrust on smart cities would mean more cars and better ownership experience.

EVERY TIME A NEW AGGREGATOR ENTERS THE MARKET, THE SALES OF CARS GO UP. WITH THE NEW RULING THAT AGGREGATORS HAVE to own their own fleet of vehicles and not outsource them, sales will only go up. I believe cab hailing and renting services, like Uber and Myles, will not affect car ownership decisions in India. The Indian market is very different from that of more developed economies like US. People will like to buy their own car.

Cab hailing services are availed by consumers for different reasons and times, but they will not substitute it for their own car. Therefore, while such services will serve their purpose and aid in easing out transportation woes, they will not affect the car buying decisions of consumers at large.

Auto ExpertExecutive Director, Carzonrent India (operates Myles, a self-drive car rental)

Business Head, ZigWheels.com

Will the popularity of taxi services make car ownership a less popular aspiration? By Saumya Tewari

FOR DECADES THE WAY YOU CALL FOR TRANSPORTATION, USE AND PAY FOR IT, HAS NOT EVOLVED. CAB HAILING SERVICES HAVE transformed how people move around in their cities by bringing transparency and accountability to provide a safe and affordable alternative. It complements and improves existing infrastructure, creates jobs and ensures that the overall quality of service improves.

In cities across India you have uberGO and uberX, some of the most affordable options to move around, sometimes cheaper than autos and taxis. When you factor in other costs for parking, insurance and maintenance, commuting with these services can quickly become a cost effective solution to car ownership.

These services are urging consumers to re-evaluate buying new cars which, for decades, has also been a sign of social standing.

Communications Lead, South Asia and India, Uber

2 4 afaqs! Reporter, August 16-31, 2 0 1 5

Star Network has offloaded its 26 per cent stake in Ekta Kapoor’s Balaji Telefilms through a block deal on Metropolitan

Stock Exchange of India (MSEI).The buyer of the stake is not known.There were around 16.9 million equity

shares of the company at an average price of `63.60, per share.

It may be recalled that in 2004, Asian

Broadcasting (ABF), a Hong Kong-based 100 per cent Star affiliate, had acquired 17.26 million shares (21 per cent) of Balaji Telefilms at `90 per share for `155 crore. It had subsequently increased its share to 25.9 per cent in the company.

Star India and Balaji Telefilms were enjoying a healthy working relationship until the shows of the production house were seen getting hit by other shows. Star was looking out at selling its stake in the company since 2008, and has finally managed to close the deal.

feedback@afaqs.com

Hindi general enterta inment channel Star

Plus partnered with Periscope - a live video streaming platform - to reach out to and engage with its followers on Twitter. The channel used the technology to promote the finalist of ‘Nach Baliye 7’ and also to popularise the title track ‘Mere Nishan’ of its recently launched fiction show ‘Badtameez Dil’.

In the week leading up to the grand finale of the dance reality show, ‘Nach Baliye 7’, all the finalist jodis of the show engaged in a conversation on Periscope. They answered questions from the fans live and promoted their respective voting numbers.

In a bid to promote the launch of the show,

‘Badtameez Dil’, Star Plus used the Periscope tool to ask users their favourite lines from the title track, ‘Mere Nishan’. To cap off a new experience, singer Darshan sang those particular lines live for them on Periscope.

“By using Periscope in such an interactive and real-time manner, Star Plus has shown that they truly understand the potential of the live streaming platform. We believe that such partners will help us also expand the possibilities. We hope to see many such engagements which truly enhance the experience for viewers,” says a Twitter India representative.

Star Plus has always taken the lead in creatively engaging with its fans and followers on digital platforms, be it with the use of Twitter’s ‘Flock to Unlock’ tool for ‘Satyamev Jayate’ or use of Periscope for real-time interaction with the audience.

Star India broadcasts more than 40 channels in seven languages, reaching more than 720 million viewers every week across India and 100 countries. The network’s entertainment channel portfolio includes Star Gold, Channel

V, Star World, Star Movies, Star Utsav, Life OK, Movies OK and Star Plus. It has a presence in regional broadcasting as well, through a bouquet of affiliate channels which includes Star Jalsha, Jalsha Movies, Star Pravah, Asianet, Asianet Plus, Suvarna, Suvarna Plus and Vijay.

Star India is a fully owned subsidiary of 21st Century Fox.

feedback@afaqs.com

Real Time EngagementSTAR PLUS

The channel used the Periscope technology to promote the finalist of ‘Nach Baliye 7’ and also popularise the title track of the fiction show ‘Badtameez Dil.’ By News Bureau Star Network offloads 26 per

cent stake in Balaji Telefilms. By News Bureau

The channel engaged its followers on Twitter

through Periscope.

afaqs! Reporter, August 16-31, 2015 2 5

Star Network’s stake is approximately worth

`108 crore.

Offloading Exercise

STAR NETWORK-BALAJI TELEFILMS

With a clogged pitch pipeline, countless client meetings and the added mandate of manning the Mumbai office, Kunal Jeswani, CEO, Ogilvy India, is a busy man. But he makes time for a quick interview.

Edited Excerpts.

What has kept you busy these past four months?There’s been a lot of client engagement, because when you get into a role

like this, the most important thing is to connect with as many clients as one can. It’s about identifying which clients need my support, where I can help the most... The last thing I want to do is meet people for the sake of it. It’s about getting in where there are difficulties, where there are fires.

When you became CEO, a lot was said about a ‘digital guy’ getting the top job at O&M. In the ‘real world’, on a day to day basis, does your digital background help?

On a day to day basis, my job is not a ‘digital job’; it’s running a company. And a large part of that company thrives on businesses that still focus on mainstream media and other disciplines.

Digital, today, is one of those disciplines. It’s one of the services we offer. The task I have, over the next five years, is ensuring it doesn’t become a discipline. To make sure it percolates across the organisation and is embedded in every service we offer.

The task is also to ensure our digital unit becomes increasingly specialised and offers specific specialist capabilities.

Such as...?Such as e-commerce

consulting, digital content development, social, digital media and performance marketing.

With you at the helm, does Ogilvy participate in more standalone digital pitches than it did before?

Yes, the number of clients who come to us for OgilvyOne (O&M’s digital arm) and our digital capabilities is increasing month on month... but not because of me.

Credit goes to Vikram (Menon, president and country head, OgilvyOne) and his team that’s doing more than a pitch a week.

In the recent past, Ogilvy has lost some senior members, like Kawal Shoor (former national planning director) and Navin Talreja (former president, Mumbai and Kolkata). How much pressure has this put on you?

A fair amount.Talent is a huge, an ongoing concern. We lose good people every year, for

one reason or another - sometimes people are not happy with what they have, sometimes they feel there is more opportunity outside, sometimes people want to start off on their own.

Does filling the gap worry me? No. There is enough and more talent available in the market to fill the shoes of anyone who leaves. If I leave, there is talent available, both inside the company and outside, to fill the position.

What worries me is losing good talent. The issue is addressing why we lose good people, and understanding how we can retain them, and make them feel like they have strong, long careers here at Ogilvy.

How does one go about doing that?It begins with understanding that we haven’t been the best in terms

of training, HR, career paths and talent management. We haven’t done a great job on this front; we need to.

What else makes the list? What are your other pressure points?

The whole digital transformation story. That doesn’t happen in two or three months. We’re 1,700 people across the country. There’s a lot to be done to take the agency to the point where clients respect

our digital chops as much as they respect our advertising chops.

People say your leadership style is very collaborative, that it’s less about leading from the top. What do you make

of such feedback?

If you ask me what I’m good at, it is getting people to work together. Ogilvy is a humongous company - many disciplines, many geographies, many clients.

How do you get a data guy, an e-commerce guy, a PR guy, an activation guy and an advertising

guy to work together? One of the biggest challenges I’m going to face - and that’s where I think I’m going to succeed, in terms of leadership style - is being able to bring all these people together and get them to work together... to collaborate.

Others say you need to sharpen your claws, that you’re too gentle...

A lot of people tell me, ‘You need to be ruthless in this job’ and ‘You need to be really tough with people...’ I don’t agree.

It’s not my style, and won’t ever be. The day I feel I need to be merciless with people is the day I’ll give up the job. I’ve run businesses long enough to know that you can get as much out of people by being good to them, as you can by being tough with them.

ashwini.gangal@afaqs.com

KUNAL JESWANI> CEO, OGILVY INDIA

“The day I feel I have to be merciless, is the day I’ll give up the job”

Working across divisions in a decade long career at Ogilvy, Jeswani is now at the helm of affairs at the country’s most respected agency. By Ashwini Gangal

afaqs! Reporter, August 16-31, 20152 6

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FOTO

CORP

As much as I want to write something that makes me sound like an Oracle, no

matter how hard or how long I think – I come to the conclusion, that the only thing conclusive about the future – is that its going to be different.

Fashion and technology are converging faster than I can say ‘ausschliesslich’. If the year gone by, with its strides in ‘wearable technology’, is any indication then it opens up amazing vistas for marketers.

A look at some of the differences with marketing potential ripe for the taking:

THE BROWSING GLASS

It’s my favourite “Minority Report” moment – walking into

a store, and an app throws up all the “new products with price comparisons” that I may find at the store – it cross compares with my size and virtually lets me see how this may look on me.

Now imagine the possibilities to retailers, e-commerce sites in terms of stocking, remarketing, cross selling, upselling and designing specials. With technology advents like the Google Glass, meta data apps which help you pair what you wear, luxury brands adopting Radio-frequency identification

(RFID) technology – this far fetched notion may soon be the tipping point in increasing customer value and rich customer data.

MIRROR MIRROR ON THE WALL WHO IS THE FAIREST

OF THEM ALL

Voila! the Magic Mirror – imagine walking down the aisle

of beauty products and deciding between a Berry Brown and a Decadent Brown – to most men it looks well just brown – but for women it’s the difference between what Halle Berry and Katrina Kaif wear.

Imagine a looking glass that shows you how you would look with make up on, its sensors detect your skin type and skin condition, display the skin products that might help – you would have not only improved the shopper experience, but created expertise and differentiation for your brand, reduced manning staff but more importantly the ticket price of “impulse shopping” just went up. The good news is that this technology is available and usable courtesy Metal Works.

STRIDES IN 3D PRINTING

The the medical community is discovering the magic of 3D

printing. With the advent of 3D printing the horizon for affordable customisations whether shoes or apparel just widens.

SMART FASHION – SENSORS & CHIPS IN YOUR

SHOE AND CLOTHING

All of this data sits with the marketer enabling him to do

“proactive marketing” – seeding in the idea of a new buy or a service before the consumer even gets into purchase journey. Imagine a chip in your clothes, linking to a Closet App – telling you the broad colors of clothing you own, colors hot this season or for that matter where will you find the apparel in your closet.

Or Imagine a chip in your bike helmet, that tells you through your intelligent eye-wear, the routes ahead, when do you need to buy a new shoe or when to service your bike – you just increased your customer lifetime value.

The possibilities are endless and our journey as marketers and communication specialists hit warp speed. Are we ready?

MONAZ TODYWALA

Fashion and Technology – What the future holds?

The writer is the General Manager, Maxus

M A X U S W H I T E P A P E R S E R I E S

With the advent of 3D printing the horizon for affordable

customisations just widens.

afaqs! Reporter, August 16-31, 2015 2 7

Seattle-headquartered global coffee chain Starbucks recently launched its 75th

store in India, at Bandra, Mumbai. This is the brand’s 27th store in the city.

Less than three years back, in October 2012, Starbucks launched its first store at Mumbai’s Horniman Circle. The brand entered this market through a 50:50 association between Starbucks Coffee Company and Tata Global Beverages.

India is Starbucks’ fastest growing market. Currently, the brand is present across Mumbai, Delhi-NCR, Pune, Bengaluru and Chennai.

What goes into finding the perfect spot for a new outlet? Manmeet Vohra, director - marketing and category, Tata Starbucks, answers this and more.

Edited Excerpts:

What goes into launching a new store? What’s the biggest challenge?

The No.1 challenge is getting the location right.

While we would want to be everywhere our customers want and expect us to be, we have to be very thoughtful about the way we expand. It depends on the quality of the retail space, the operation costs, the economics associated with opening the store, the supply chain... that is, to be able to ensure we can provide our complete offering to our customers in that store,

whether it is food, beverage, merchandise, etc.

Also, whenever we open a store, we are always sensitive to the surroundings.

Before joining Starbucks you were with Tag Heuer, where you helped set up several boutiques. From a luxury watch brand to a coffee chain - how are the retail level challenges different?

Starbucks, at the end of the day, is a lifestyle brand. It’s an aspirational brand, one that most of our customers aspire to associate with. People want to be seen at Starbucks. At one point, the Hamilton House store (Connaught Place, Delhi) was the most checked-in place, online.

Our customers are well travelled, aware and discerning. The way I look at

it is: Whether you are in the luxury watch space or a high quality, aspirational coffee space, fact is your customers are very discerning. They want the best.

The new-age Indian customer is demanding and unforgiving.

We’re sure studying coffee consumption habits is a big part of your mandate at Starbucks. Tell us about your observations...

In India, even people who drink tea at home, drink coffee outside... simply because it is more socially acceptable.

The way our customers consume Starbucks in the West is different from the way they do so in Asia Pacific markets. In the US, it’s mostly in the morning, on the go, on the way to work; it’s like your daily

dose of caffeine. But in Asia, the social connotation of coffee is much stronger.

In most of our decisions we bear in mind the cultural sensibilities of the geography. Take for instance, our store design decisions. Most of our flagship stores have the culture of that place deeply embedded in the design. The design in our Hyderabad flagship store is inspired by Hyderabadi pearls, the Pune store has a lot of copper design elements because the discovery of Pune as a city can be traced back to the discovery of copper coins. Similarly, in Delhi’s Hamilton House store, a lot of material has been sourced from local artists.

What’s your typical patron like?

Our TG is a mix of college students, young

working executives, young couples, and families with children.

Some of our products are a hit with the children. About 60-65 per cent of our customers are under the age of 40. They’re probably between 20 and 40 years of age.

A lot of grandparents come to Starbucks over the weekend, in our mall stores.

You frequently introduce and discontinue items on your menu... how are these decisions taken?

We’re consistent with most of our beverages through the year. Some are limited time offerings; these LTOs are introduced every two to three months. In any case, our customers like to customise and personalise

their orders. We also have a concept of bringing ‘the favourite’ back. People are waiting for the Toffee Nut Latte around Christmas.

Understanding what to introduce involves many factors. Our alphonso mango drink was based on customer research that showed they wanted to have a fruit-based drink for a change, every now and then. Such insights drive these decisions. Over the years, some of our beverages have become very popular - like the Pumpkin Spice Latte and Coffee Nut Latte.

A lot of things go off the menu because we are constantly evaluating our products. We also had to bring some items back, like salads in some stores and breakfast items in others. We have an ongoing dialogue with the customer about this.

I don’t think we have ever made a passive marketing decision. It has always been taken after engaging with our customers and store partners.

Do consumer preferences differ from city to city?

It could depend on the format of the store, not the city.

A store in a corporate office will behave slightly different from a store in a mall. In the first kind, people are there for meetings and want to consume breakfast items. In the latter kind, the shops open after 11:00 am so consumption patterns also differ.

But our bestsellers stay consistent across store types.

sohini.sen@afaqs.com

MANMEET VOHRA> DIRECTOR - MARKETING AND CATEGORY, TATA STARBUCKS

“The new-age Indian customer is demanding and unforgiving”

FOTO

CORP

afaqs! Reporter, August 16-31, 20152 8

With the launch of its 75th store in the country, India is Starbucks’ fastest growing market. A look at the brand’s strategy. By Sohini Sen

About 60-65 per cent of our customers are between

20 and 40 years of age.

Post: Content writerCompany: Vermillion Communication Pvt. Ltd. Profile: Excellent English, good grammar with good in writing skills.Exp: 0 to 1 yrs. Location: New DelhiEmail: wfive.shashi@gmail.com.............................................................Post: Front Office ExecutiveCompany: Thoughtrains Designs Pvt. Ltd.Profile: Preferably male candidate Welcomes visitors by greeting them, in person or on the telephone; answering or referring inquiries.Directs visitors by maintaining employee and department directories; giving instructions.Maintains security by following proceduresMaintains safe and clean reception area by complying with procedures, rules, and regulations. Exp: 1 to 3 yrs. Location: Mumbai,Navi MumbaiEmail: hr@thoughtrains.com.............................................................Post: CopywritersCompany: Point Blank Advertising Private LimitedProfile: Understanding the client’s brief on the disease, therapy, the molecule and brand.Contribute in developing communication strategy based on the client brief. Developing powerful communication messages and memorable campaigns in collaboration with the creative teamExp: 2 to 3 yrs. Location: Mumbai,Mulund WestEmail: ashish@pointblank.co.in.............................................................Post: Media ExecutiveCompany: Sunny Advertising Profile: Having experience in newspaper ad agency experience for media planning for Mumbai & all India level. Little exposure in Digital, Outdoor, Television will be an additional asset. Should be well versed with ‘Mediaware’ software, ABS software, Media Planning, Rate negotiation, client co-ordination. Should be perfect in work & timely follow u .Exp: 3 to 5 yrs.Location: Mumbai

Email: hr@sunnyadvertising.com.............................................................Post: Business Development ManagerCompany: INVICTA Media Pvt. Ltd Profile: Capability to generate and manage new business, ensuring client satisfaction.Should have experience in serving Government and PSus clients.Should be able to provide fresh ideas and options for various projects. Capability to achieve targets generating revenue. Developing relevant business proposals.Exp: 2 to 5 yrs.Location: New DelhiEmail: careeratinvicta@gmail.com.............................................................Post: Account Director Gr. II - CRMCompany: Blue HiveProfile: Nurture client relationship by being an effective communicator, proactive in understanding internal & external client needs, demonstrate forward thinking and consistently delivering assigned goals and objectives. Exp: 7 to 10 yrs. Location: GurgaonEmail: hr.career@thebluehive.com.............................................................Post: Studio Operator - Artworking, Production & DesignCompany: Mindseye CreativeProfile: Your roles and responsibilities at Mindseye Creative will include: to plan, analyze, and create visual solutions to communications problems of our clients both in India and US/UK. Find the most effective way to get messages across in print and electronic media using color, type, illustration, photography, animation, and various print and layout techniquesExp: 3 to 5 yrs. Location: Mumbai,lower parelEmail: sakina.bagasrawala@mecstudio.com.............................................................Post: Business Development ManagerCompany: Pixtop Media Solutions Pvt Ltd (Webmaffia)Profile: New Business Sales

Generate leads and close your own pipeline of business.You will identify cross sell opportunities and ensure that you identify which of the suite of our solutions is right for each client.Co-ordination with the Business Development Executive in terms of leads and new appointments. Exp: 3 to 10 yrs. Location: MumbaiEmail: Hr@webmaffia.com.............................................................Post: Social Media ExecutiveCompany: AdGlobal360 India Pvt. Ltd.Profile: Excellent written & verbal communication skills and an ability to interact with all levels of end users and technical resources.Create and implement Social Media Marketing campaigns across multiple platforms to generate traffic and increase brand value for the clients; this includes profile creation, fan page optimization and content sharing & promotion on Facebook, LinkedIn, Twitter, Pinterest & YouTube.Exp: 2 to 4 yrs.Location:GurgaonEmail: hr@adglobal360.com .............................................................Post: Die-Hard WriterCompany: Stark Communications Pvt. Ltd. Profile: You love to craft your words and sentences like a seasoned silversmith. You huddle over your headline for hours and then discard it for another one. You are worried when you end up spending more time scampering for reference images on the internet than writing.Exp: 0 to 8 yrs.Location: TrivandrumEmail: life@stark.in.............................................................Post: Manager: Sales and MarketingCompany: Square Communications Pvt Ltd. Profile: Looking for Highly motivated sales and marketing professional with experience in Fashion and Lifestyle/ Sponsorship’s for Events & Activation’s. Clients serviced in various categories like Retail /Telecom/ Real-estate / Health / Hospitality/Automobile.

Someone with a good network in the industry. Exp: 5 to 6 yrs.Location: New DelhiEmail: hr@squarecomm.com.............................................................Post: Motion Graphic ArtistCompany: DigiStreet Media Private LimitedProfile: We are looking for promo artists or motion graphics artists who will be a part of the MCOS team and will be responsible for creating world-class motion graphics in 3D & 2D with compliance to corporate brand guidelines. Exp: 3 to 7 yrs. Location: MumbaiEmail: pratyay.dasgupta@capgemini.com.............................................................Post: Web developer - DigitalCompany: Setu Advertising Pvt LtldProfile: Designing webpage layout Determining technical requirements Updating websites Creating back up files Solving code problems Content managementExp: 3 to 5 yrs.Location: PuneEmail: hr@setuadvertising.com

2 9afaqs! Reporter, August 16-31, 2 0 1 5

TO ADVERTISE, CONTACT:

Abhilash Singh Ph: 09999989454

Email: abhilash.singh@afaqs.com

Sumeet Chandiramani (Mumbai)

Ph: 09820590172 Email: sumeet.chandiramani@afaqs.com

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Omnicom Media Group has

appointed Shavon Barua as managing partner, PHD Mumbai. She will be working closely with Jyoti Bansal, managing director, PHD India to build the agency’s rapidly increasing portfolio. Barua moves in from Havas Worldwide where as president she was leading the P&L for West and South across various verticals of mainline advertising, digital, health, engagement and experiential.

Rediffusion Y&R has announced the appointment of Pranav Harihar Sharma as executive creative director, North and West. He was earlier ECD, Grey Worldwide and had quit the agency in July, to pursue film-making.

Meanwhile, Uttio Majumdar has also joined Rediffusion Y&R to head its Mumbai operations. He joins the agency from JWT where he worked for 21 years.

The Social Street has made two senior level appointments in the strategic planning and retail space. Pradeep Ramakrishnan comes on board as national head of strategy and insights. With 18 years of experience, Ramakrishnan moved from DDB Mudra Max and TracyLocke.

Prashant Oka has joined The Social Street as associate vice president. He moves from TracyLocke, where he helped set up its shopper marketing offering. At The Social Street, Oka will be jointly spearheading the retail and shopper marketing agenda for the West region.

Apart from this, the agency has announced the launch of its retail practice. Asheesh Tyagi, ex-VP, Cheil India - retail marketing operations, will lead the retail practice based out of the agency’s Delhi-NCR office.

Razorfish has announced that Bharatesh Salian, vice president and head of strategy, will now oversee the agency’s Mumbai and Bengaluru branches. He will take over the operations with immediate effect from Manoj Mansukhani, who was senior vice president at Razorfish.

Ambi MG Parameswaran, executive director, FCB Ulka Advertising, has been re-elected as president of the Advertising Agencies Association of India (AAAI), for the year 2015-2016. He had been elected president of AAAI in 2014, when he took over from Arvind Sharma. Sharma will now be an ex-officio member of the new AAAI executive

committee. Meanwhile, Nakul Chopra, CEO, South Asia, Publicis Communications, has been re-elected as vice president.

Orchard Advertising has appointed Lubna Khan as its national strategy head. Khan, joins the agency from Grey Malaysia.

A round up of some major people movements in the last fortnight>> MOVEMENTS/APPOINTMENTS<<

India born Sundar Pichai has been

named the new global chief executive officer (CEO) of Google Inc. in a surprise restructuring at the company. Pichai was earlier handling product and engineering responsibility for company’s internet

businesses as senior vice president, products. He will replace Larry Page, who will now head Alphabet Inc., a new entity to which Google will belong. Alphabet Inc. will essentially be a collection of companies with Google being the largest.

Telecom giant Bharti Airtel has announced the appointment of Rajiv Mathrani as chief brand officer for its India operations. Mathrani joins Airtel from Pepsico, where he led the snacks category and portfolio strategy. He takes over from Mohit Beotra, who has quit the company to pursue entrepreneurial opportunities. Mathrani will report to Srini Gopalan, director - consumer business, Bharti Airtel (India).

M e r c e d e s - B e n z has appointed Roland S Folger as the managing director and CEO of its India operations. He will take charge from October 1, and will replace Eberhard Kern who is to assume a new role in the European market.

Micromax has appointed Gaurav Kackar as head of brand marketing for Micromax Informatics. He will be responsible for pan-India brand development, management and marketing communication for the company’s online and offline platforms.

Manajit Ghoshal, who has been associated with Mid-Day as

MD and CEO, has started a new venture named Orion Consulting. It has three distinct verticals catering to digital marketing, IT consulting and financial services.

PayU, an online payments company, has appointed Prabhakar Tiwari as its chief marketing officer. He joins from tyre manufacturing company Ceat, where he was general

manager, marketing. Tiwari has 13 years of experience.

Snapdeal has appointed Amit Maheshwari as chief executive officer (CEO) of the recently acquired online premium fashion destination Exclusively.com. He most recently served as senior vice president, fashion, at Snapdeal and was instrumental in growing the fashion and lifestyle category into a successful business for the platform.

DIGITAL

MG PARAMESWARAN SUNDAR PICHAI

RAJIV MATHRANI

PRASHANT OKA

PRADEEP RAMAKRISHNAN

SHAVON BARUA BHARATESH SALIAN

AMIT MAHESHWARI

ADVERTISING

3 0 afaqs! Reporter, August 16-31, 2 0 1 5

Sanjeev Kumar, former AGM, Intex

Mobile, has joined Starcom MediaVest Group as associate vice president. Kumar had joined Intex in March this year. At Starcom, he will be heading media buying from its Delhi office. Prior to joining Intex, he was associated with Usha International, where he worked as AGM, marketing, since 2010.

MEDIA

SANJEEV KUMAR

MARKETING

UTTIO MAJUMDAR LUBNA KHAN