MAM
Posterscope partners Cheil India for Samsung’s Gear S2
MUMBAI: Samsung’s media agency Cheil along with Dentsu Aegis Network’s out of home agency Posterscope have successfully executed a high impact and high visibility innovation to celebrate the launch of Samsung Gear S2.
As part of the partnership, the key task for Posterscope was to highlight the core features of Samsung Gear S2 by disrupting the OOH landscape. The target audience was SEC A1, A2, A3 male within the 25-44 age bracket, people who are early adopters of technology, lead an active lifestyle and always ready to stay connected. Cheil India developed the concept and creative.
Posterscope Group India, Posterscope Asia Pacific regional director and MD Haresh Nayak said, “I am extremely honoured to be associated with this campaign. The world is currently standing in the midst of massive technological advancements and our consumers in India are not just aware but also exposed to these evolutions while sitting at home. Therefore, the campaign that we executed had to be such that it could stand up to a world-class quality. And I am glad that we have stood tall and delivered so well.”
While the objective entailed the highlighting of the dynamic features of the watch, it could not be met a vanilla 2D approach towards OOH. Thus, Posterscope recommended the use of LEDs to create an innovative display that would do justice to the objective and serve the required impact.
Adding a layer of efficacy to this innovative campaign was a well thought-out media plan that was designed by Posterscope. Based on their deep understanding of the target consumer, which was derived from their primary research (OCS), patented analytical tools (PRISM) and accumulated understanding, Posterscope zeroed down on specific locations in Mumbai, Bangalore and Delhi NCR to conduct the project. Trade points were the focus in Mumbai while it were the IT parks in Bangalore. Innovation was done at DND toll road, which is a major entry point in the city from Noida.
AD Agencies
Fevicol releases its last ad campaign by the late Piyush Pandey
The adhesive brand’s last campaign by the late advertising legend Piyush Pandey turns an everyday Indian obsession into a quietly powerful metaphor
MUMBAI: Fevicol has never needed much of a plot. A sticky bond, a wry observation, a truth that every Indian instantly recognises — that has always been enough. “Kursi Pe Nazar,” the brand’s latest television commercial, is no different. And yet it carries a weight that no previous Fevicol film has had to bear: it is the last one its creator, the advertising legend Piyush Pandey, will ever make.
The film, released on Tuesday by Pidilite Industries, fixes its gaze on the kursi — the chair — and what it means in Indian life. Not just as a piece of furniture, but as a currency of ambition, a vessel of authority, and a source of quiet social drama that plays out in every home, office and institution across the country. Who sits in the chair, who waits for it, and who eyes it hungrily from across the room: the film transforms this sharply observed cultural truth into a narrative that is, in the best Fevicol tradition, funny, warm and instantly familiar.
The campaign was Pandey’s idea. He discussed it in detail with the team before his death, but did not live to see it shot. Prasoon Pandey, director at Corcoise Films who helmed the commercial, said the team needed five months to find its footing before they felt ready to shoot. “This was the toughest film ever for all of us,” he said. “It was Piyush’s idea, magical as always.”
The emotional weight of that responsibility was not lost on the team at Ogilvy India, which created the campaign. Kainaz Karmakar and Harshad Rajadhyaksha, group chief creative officers at Ogilvy India, described the process as “a pilgrimage of sorts, on the path that Piyush created not just for Ogilvy, but for our entire profession.”
Sudhanshu Vats, managing director of Pidilite Industries, said the film was rooted in a distinctly Indian insight. “The ‘kursi’ symbolises aspiration, transition, and ambition,” he said. “Piyush Pandey had an extraordinary ability to elevate such everyday observations into iconic storytelling for Fevicol. This film carries that legacy forward.”
That legacy is considerable. Over several decades, Pandey’s partnership with Fevicol produced some of the most beloved advertising in Indian history, building the brand into something rare: a household name that people actively enjoy watching sell to them.
“Kursi Pe Nazar” does not try to be a tribute. It simply tries to be a great Fevicol film. By most measures, it succeeds — which is, in the end, the most fitting send-off of all.
