AD Agencies
Havas Creative India wins India’s First Gold at Cannes Lions 2025 for ‘Ink of Democracy’
MUMBAI: Havas Creative India, the creative agency of Havas India, has brought home the country’s first Gold Lion at Cannes Lions 2025 for its powerful campaign ‘Ink of Democracy’, created in partnership with The Times of India.
Rooted in the symbolic power of electoral ink, Ink of Democracy, which won in the Print
& Publishing category, was a visceral call to action for India’s citizens ahead of the general elections. By printing The Times of India’s editorial page entirely in purple – the very colour used to mark fingers of those who vote – the campaign served as a silent yet powerful protest against voter apathy. No headlines. No logos. Just a stark reminder of the voices that were never heard.
Havas India group CEO South East Asia and North Asia, Rana Barua said, “Winning a Cannes Lions for Ink of Democracy is a moment of immense pride—for the work, the people behind it, and what it stands for. At our core, we’ve always believed in the power of creativity. We truly believe it has the power to shape conversations and spark change.
I’m incredibly proud of Anu, Ravinder, Soham and our team that brought this idea to life. Also, a huge shoutout to Team TOI, Joji, and our global team for their belief in the idea and all the support. Here’s to a team that continues to raise the bar, pushing boundaries with integrity, heart, and fearless creativity.”
Havas Creative India joint MD & chief creative officer, Anupama Ramaswamy added, “From the moment we thought of Ink of Democracy, I knew in my gut this idea needed to be made and needed to be seen by the world. It wasn’t loud or flashy, but it had truth, purpose, and heart. One thing I held onto was patience. And a quiet tenacity to see it through, no matter how long it took.
What makes this Cannes Lions win truly special is my young team that brought it to life—Soham, Ravinder, and Annie—who poured everything into it. They carried the idea with courage and craft, and I couldn’t be prouder.
A big thank you to Rana and the global team at Havas for believing in the work and helping us take it beyond borders. This is a shared win, and a reminder of what’s possible when we trust our instincts and support one another.”
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.
