Monthly Archives: January 2010

Pernod Ricard – Change lies within

From this month, with the help of Sanjeev Jassani, Vice President OgilvyOne New Delhi, and a very old and dear friend, we start a 15 episode series on DM case studies at OgilvyOne. This week we cover Pernod Ricard.

The Brief:
How do you celebrate and present the new face of an iconic spirit without denigrating the existing? More so when the spirit in question is Chivas Regal 12. The task gets even more challenging when the communication is aimed at the top rung of the core brand team that has lived through so many ‘changes’. So how do you shake them out of their ennui, raise excitement levels and ensure that this enthusiasm percolates right down to all those below them?

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Sabai Foot Spa

For all other foot problems

Advertising Agency: McCann Erickson, Mumbai, India
Regional Creative Director: Prasoon Joshi
Executive Creative Director: Ryan Menezes
Art Director: Vinit Sanghvi
Copywriter: Lolita D’souza
Illustrator: Mark Gmehling
Published: foot-in-mouth

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Aquila Heights

Advertising Agency: Everest Brand Solutions, Mumbai, India
Creative Directors: N.Padmakumar (Ncd), Nilesh Naik, Devesh Desai
Art Director: Devesh Desai
Copywriter: Nilesh Naik
Photographer: Sanjay Sakharkar

“Mr. Bandhopadhyay separated from his umbrella on a windy morning.
Live in Bengaluru’s tallest residential towers. The luxury apartments come with the finest of amenities and recreational facilities. And the name Tata comes with years of trust. Sounds good? Call us on 66478800.”

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Itu Chaudhuri Design

Itu Chaudhuri has practiced design since 1984, when he first began to tack the word “design” after his name on his letterhead. In 1996, on his accountant’s advice, he incorporated a company under the same name, thus perpetuating that unfortunate decision. Itu Chaudhuri Design (ICD) specialises in helping clients’ businesses through design, seeking out those who believe that design can make a difference to a result, whether economic or social, and are willing to approach their project in this way.

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Why are you a Graphic Designer?
I loved to draw letters and sometimes, spaces or buildings and weird inventions, a bit like a daft boy Leonardo (da Vinci, not DiCaprio). I never saw, and still don’t truly see, different kinds of design. Architecture seemed most challenging, so I chose to study it after school. To get in, you had to give an entrance exam, which meant I could, quite respectably, hide my indifferent school performance; that was nice, too.

Today. I think differently. I’d like to be a designer first, with graphic secondary. I’d like Design to be written into the strategic script at an earlier point than it is—an execution tool, rather like a pencil. How much better if we could be aprt of the mind that moves the arm that moves the pencil!  If this makes sense…

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On Toes : EuroRSCG Mumbai

ON TOES, Quicker Fine Dining
Waiting too long for service?

Agency: Euro RSCG, Mumbai, India
Creative Director: Nilesh Vaidya / Gerard Jayaranjan
Art Director: Mansi Bindal
Copywriter: Ajeet Shukla
Fabricator: Mahesh Lad
Photographer: Shashi Nair

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Vish Vishwanath: Photography

vish_portrait

In his own words: “My family have been photographers or associated with photography for a long time, and my first decent camera was given to me by my father, via my uncle, to whom my father lent his entire outfit, on the basis that the cameras would be mine when I was old enough. In the meantime, I was given a basic box brownie – camera of champions – to make do with. The shutter button’s spring was so difficult to press, the camera couldn’t be kept still. Two long years later, at the blameless age of seven, my uncle appeared, with an SLR, three lenses, a stack of accessories and filters, and a tripod that nearly took my eye out, as they say.

Behind the works of my favourite classical artists – Constable, Turner, Hogarth, Picasso, Burne-Jones, Rembrandt and of course, DaVinci – lie ways of thinking, research, understanding, that these chaps (always chaps, I’m afraid) possessed and cultivated.

Photographers’ images are of course influential, but as with the Old Masters, the real insights are gleaned from understanding their motives, their research and the efforts made to cultivate the talents they had. There’s plenty of talent around, but it’s nothing without hard work.

I learnt a lot, although not aesthetically, from the late Ansel Adams. The late Barry Thornton’s writings are still hugely influential, and I leaf through the World Press Photo annuals, usually in admiration, ocassionally in mystification — we don’t always agree — but always reminding myself that it’s the people I’m interested in. Here’s to Doisneau, Cartier-Bresson and Capa; David La Chappelle and Annie Leibovitz; Mitch Epstein, Paul Graham, Tom Stoddart and Steve McCurry; Tim Hetherington, Martin Parr and Simon Norfolk; so many photographers, so little space. Here’s to pushing the boundaries a little bit further on.”

Why are you a photographer?
It’s the best way I can find to satisfy my curiosity about the world and it provides me with a reason/excuse to ask questions and find out information.

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A tribute to Asheem Chakravarty

I met Asheem while shooting the last schedule of ‘Leaving Home’, a feature length film on the band Indian Ocean, directed by Jaideep Varma. I immediately became a fan of the band and of course, of Asheem. Its hard not to.  Asheem was always warm and enthusiastic, and filled everyone around him with a joyful and optimistic energy. Every time he sang or played his music, you could see him pour his soul into it. He was only 52 when he left.

From the film Leaving Home – the life & music of Indian Ocean (to be released in 2010)