AD Agencies
Prakash Nair reportedly quits Ogilvy after 23 years
One of the agency’s longest-serving leaders has moved on, with his next destination still unknown
MUMBAI: After more than two decades at one address, Prakash Nair has left the building. The president and head of office, north at Ogilvy has moved on from the agency, according to highly placed industry sources. His next move remains unknown. Ogilvy did not respond to requests for comment.
Nair spent over 23 years at the agency, making him one of its longest-serving senior figures. He was elevated to lead the Gurugram office in April 2022, a role that put him at the helm of Ogilvy’s northern operations at a time of considerable churn across the advertising industry.
Before taking charge in the capital, Nair served as associate president at Ogilvy Mumbai, where he worked on some of the agency’s most prized accounts, including Mondelez, Tata Motors, and BP Castrol. Over the years, he built a reputation for driving modern, integrated, and award-winning work, the kind that wins metals at Cannes and keeps clients from straying.
His departure was marked in style. A farewell gathering was held in Delhi, attended by senior figures from across the advertising fraternity, a signal of the regard in which Nair is held in an industry that does not always pause to say goodbye properly.
Where he goes next is the question the industry is now asking. After 23 years at one of the world’s most storied agencies, the answer, when it comes, will be worth watching.
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.
