MAM
India loves advertising more than any other country: Piyush Pandey
NEW DELHI: The past few years have generated a heated discussion on the role of creativity v/s the role of technology in advertising and marketing. With machines dominating almost every aspect of the functioning of an agency, there have been debates on understanding the role of human touch and sensibility in the future of communications and how technology can or cannot be a substitute for human emotions.
Addressing the same in a free-wheeling fireside chat with Indiantelevision.com founder, CEO and editor in chief Anil Wanvari, Ogilvy chief creative officer worldwide and executive chairman India, Piyush Pandey said that technology is there to help the advertisers in creating different creative stories. “Technology is not the story,” he quipped. He elaborated the role of human emotions and sensibilities will never go out of advertising and the agencies will have to learn how to strike a fine balance between the two.
Speaking about India’s stand when it comes to creative trends in advertising, he said, “‘Trends' is a strange word. I will never compare Indian advertising with any other country. More people in India love advertising than any other country in the world. The cynicism is not there. We might not win Oscars but people appreciate our good movies.”
However, Pandey also noted that communication, as we know today, has to change for the better. “It has to be more sensitive as communication is not only about transactions, it is also about relationship building. It is not the time to sell, it is the time to build relationships.”
He added, “I feel today, a fruit vendor has more sense of communication and tone than most people in the advertising industry.”
Does it mean that advertising shouldn’t be focussing on delivering ROIs?
Pandey disagreed. “ Which client ever, and sensibly so, would not want sales? You can do a bad piece and run it 50 times a day and you can do something impactful and run it 10 times a day only, to deliver similar sales. That’s what the differentiator is.”
He continued, “You have to know the consumer to understand what is the aspect of your brand that the consumer will appreciate. If we can engage a consumer and touch hearts, that always works well (for a brand).”
The thespian also lauded the good world that many agencies have done during the Covid2019 lockdown with limited resources and lots of constraints. Be it the work for Asian Paints, which he wrote and did the voiceover for, or the work to promote the Aarogya Setu app, Pandey thinks there was a lot of creativity that was unleashed during the lockdown across agencies.
“I think agencies everywhere have done a good job during the pandemic, given the constraints. It is a testing time for everybody; much more testing time for communicators than anybody else. Yes, our feet are tied but not our hands, not our pens or computers. My personal favourite piece of work is “Family”, which my brother (Prasoon Pandey) created with Bollywood celebrities like Amitabh Bachchan and Rajnikanth.”
The one ad that did not make the cut for him was Memec Ogilvy’s #StayHome for Honda. “You will have to see what the ad was for instead of what the ad was. Instead of showing something remarkable, like shooting with a mini car, and making people wonder how they did it, they just put it out there in the video. When you show how fantastic a director you are, what a fantastic editor you are, then I am looking at you and not the car,” he explained.
Pandey, who is not just a globally-celebrated advertising industry champion, but also a cricketer (has played CK Naidu Cup and Ranji in his younger days,) a lyricist (he has contributed to the iconic Mile Sur Mera Tumhara), a scriptwriter (Bhopal Express), a voiceover artist (a number of ads including the latest Asian Paints’ Har Ghar Kuch Kehta Hai), and an actor (Madras Cafe and a few ads), also touched upon his life and experiences during the chat.
Chuckling about the mention of his work outside his home industry, Pandey said, “I am a hardcore advertiser. I am not a voiceover artist not an actor. In fact, I am a terrible actor. I did Madras Cafe for my friend Shoojit Sircar. R Balki also tried a few times to get me into movies, but after testing me for several times, he understood that I can’t do it.”
On being asked about his retirement plans, Pandey mentioned that he has never seriously thought about it as he is loving what he is doing currently. He did mention that he will continue writing.
MAM
Barista partners Ginny Weds Sunny 2 with mango campaign
Cafe chain blends cinema buzz with summer menu and 20 per cent offer.
MUMBAI: Love may brew slowly, but marketing clearly doesn’t especially when coffee meets cinema and mangoes steal the spotlight. Barista Coffee Company has partnered with the upcoming hindi film Ginny Weds Sunny 2 as its official beverage partner, in a move aimed at tapping into youth culture through entertainment-led engagement. The collaboration is not just a logo placement exercise. Instead, Barista is translating the film’s high-energy vibe into its cafés with a themed summer menu titled “Main Hoon Mango”, accompanied by a limited-period 20 per cent discount on combo offerings across outlets.
Actors Medha Shankr and Avinash Tiwary feature in the campaign, seen engaging with the mango-themed menu inside Barista cafés, a visual cue designed to blur the lines between reel and real-life consumption moments.
The strategy reflects a broader shift in how consumer brands are leveraging hindi film industry not just for visibility, but for immersive, on-ground engagement. By embedding the film’s narrative into its product experience, Barista is aiming to drive footfall, especially among younger audiences who increasingly seek experiential touchpoints over traditional advertising.
Barista Coffee Company CEO Rajat Agrawal described the partnership as both a branding and growth play, focused on expanding reach beyond the existing customer base and aligning with evolving consumer preferences.
The emphasis on a seasonal, flavour-led hook mango, one of India’s most culturally resonant ingredients adds a timely layer to the campaign, aligning with summer consumption trends while riding on the film’s promotional momentum.
For Barista, the move is part of a larger positioning shift. Rather than operating purely as a coffee retail chain, the brand is increasingly framing itself as a lifestyle destination, one that intersects with entertainment, conversation and shared experiences. By integrating cinema into its physical spaces, Barista is effectively turning cafés into micro-extensions of the film’s universe, where consumers do not just watch a story unfold but participate in it sip by sip.
The 20 per cent offer further nudges trial, lowering the barrier for consumers to engage with the themed menu while amplifying recall through a tangible incentive.
Brand-film collaborations are hardly new, but their execution is evolving. Where earlier partnerships relied on co-branded ads or product placements, the current playbook leans towards immersive storytelling and retail integration.
In that sense, Barista’s “Main Hoon Mango” push is less about promotion and more about participation inviting consumers to experience a slice of the film within a familiar, everyday setting. As the film industry continues to act as a cultural amplifier, such partnerships underline a growing truth, in today’s attention economy, it is not enough to be seen brands must be experienced.
And if that experience comes with a mango twist and a cinematic backdrop, all the better.
