EMVIES 2009: Biggest edition yet `Ideas, in today`s world, are no

August 2009
18
EMVIES 2009: Biggest edition yet
Mindshare and Mudra strike Gold in Events category
W
histles, horns, trumpets and a full-fledged band greeted every
win at EMVIES 2009 as media agencies were rewarded on
their annual big night. Organised by the Ad Club Bombay, EMVIES
celebrates excellence and innovation by media agencies. The ninth
edition of the property culminated with an awards ceremony on
August 21 at Taj Lands End, Mumbai.
A total of 451 entries were received from media agencies across
India for EMVIES 2009, of which the jury shortlisted 59. After two
rounds of judging, the results were announced. 45 Awards were
presented in 14 categories. The awards ceremony was managed by
Fountainhead Events and Promotions.
The evening started off with Dr. Bhaskar Das, President, Advertising Club Bombay, delivering the welcome address. He said, “I am
extremely happy to see everyone here, including the ‘Big Daddies’
of the industry. This is a great platform for new and innovative ideas
to be showcased. The property has been growing each year, and
this year we have received more than 450 entries.”
Apurva Purohit, Chairperson of the Emvies Committee, followed
Das in welcoming industry delegates and participants. She added,
“The EMVIES is in its ninth year now, and this clearly was the biggest
of them all with over 450 entries and 30 organisations participating.
The quality of entries has gotten better and it was a very close fight
between all the agencies who have won today. We intend to make
this a bigger event in the years to come.”
Apurva Purohit, Chairperson of the Emvies Committee, and
Dr. Bhaskar Das, President, Advertising Club Bombay, at the awards.
Sunil Lulla, Chairperson of the Young Achievers’ Awards (another Ad
Club Bombay Property), which is in its second year, urged the audience to take part in the Awards scheduled for September 25. He
stressed on the need to encourage young individuals in the industry
through such Awards.
‘Ideas, in today’s world, are no longer in the
domain of the creative community.’
Terry Savage, Chairman, International Advertising Festival
(IAF), Cannes, was in India to promote Spikes ‘09, billed as
the first Asian advertising festival, to be held in Singapore. In
conversation with Jagadeesh Krishnamurthy, the organiser of
the largest gathering of global advertising professionals talks
about the growth of the IAF over the years, and the need to
maintain its brand stature despite trying conditions.
Cannes, as a property, has been growing over the years. Could you
take us through the growth in the last few years?
2008 was the biggest Cannes ever. We had 10,200 delegates. Clearly,
2009 was down on that number with the major economic crisis.
But we still had the fifth biggest Cannes in history with over 6,200
delegates. I think the important thing about events like Cannes is
that they are not static. You cannot run static events. The world
is changing; the communication pace is changing with incredible
repeatability. Cannes cannot lead that change in its role, but it
must accurately reflect that change. We need to introduce new
categories when appropriate, drop categories when not appropriate,
have seminars with people talking about relevant issues of the day
and not necessarily of the path, and understand the changes that
are occuring in the market on an ongoing basis. It is also important
to recognise that you must be innovating every year. You must bring
a new, different and fresh aspect to the event every year, so that
people can actually sense the change that is occuring.
19
Cannes has evolved from being a purely creative advertising festival.
There is also an attempt to engage more marketers and brand
managers. Is it a conscious decision towards evolving the festival?
Absolutely; it is a conscious decision. Cannes is not a creative
advertising festival any more. It is now a communications festival
with creativity at its heart. Let’s be clear that ideas, in today’s world,
are no longer in the domain of the creative community. They can
come from media companies, film companies, etc. It can also
happen in reverse where great media ideas come from creative
agencies. By definition, if you are truly going to reflect the business,
you have to broaden the base.
A great example is the addition of Public Relations as a category
from this year’s Cannes. You can say, what’s creative about Public
Relations in that sense? The reality is that when you look at so much
of the work that have been entered and awarded at Cannes, Public
Relations is playing a role. So, You Tube and social networks, which
are public relations-driven factors, are playing a major role. It is
extensively being used by the creative communities and so you
just cannot ignore that base.
Yes, it is more business-focused now at Cannes. It was a conscious
decision, and we have now got more clients to Cannes and it is for the
benefit of creativity - because if we mange to get clients to embrace
creativity, it makes the life of creative agencies that much easier.
How have you communicated this transition?
Slowly. In fact, we still do not broadcast or talk about it. And it
becomes obvious by what we have done. Now we have reached
that point where we are far more relaxed about telling people about
the change. Anyone going to Cannes can see the change. But the
upshot is that the event is richer, has got more depth, interaction,
and more benefit for anyone going because of the change. And, I
think the creative community recognises that as well as the other
people involved.
There is a school of thought which says that Cannes is too
‘commercialised’. Your thoughts...
I am sure that there are some people who want Cannes
the way it was 10 years ago, which had a sort of easy atmosphere
with 3,000 people attending. But it is not the reality of the world
today. At the end of the day, even creativity is about selling the
client’s products and in fact, driving businesses. And Cannes, by
definition, has to reflect that position. Otherwise, it will be an
irrelevant event.
There is a correlation. But between increasing the number of people
attending, and getting in sponsors - which is higher on priority?
Clearly, the number of people attending the event, the entries for
the Cannes Lions, are by far the most important factors. Sponsorship
at Cannes is not a big issue. It is an important issue in a sense, but
if you get the attendees and entries, you get the sponsors. And, we
don’t want an event which is sponsor-dependant. In fact, if they go,
then you got no fundamental business gain. And, to us, it is about
entries, delegates and the rest is nice but not paramount.
Winners: EMVIES 2009
Mindshare retained the Media Agency of the Year title for the
second year running. This year, the agency won 12 metals - two
golds, four silvers and six bronzes. The GroupM agency had
brought along its band, which played the ‘Nashik dhol’ to loud
accompaniment of whistles and trumpets each time the agency
won an award.
Mudra Max and Mindshare won a gold each in the ‘Best Media
Innovations - Events’ category. Mindshare also won a bronze in
this category. Mudra’s work for ‘TVS Scooty - Women on Wheels
Institute’ impressed the jury to win gold, while Mindshare won its
gold for ‘Wheel - Touring talkies in Jatra’. The Bronze went to the
August 2009
What would be revenue split for the festival from various streams?
We roughly get around 45 percent from entries, 45 percent from
delegate fees, and the balance from our other revenue streams.
Considering the lower delegate turnout at this year’s festival, how
did the management look at maximising revenues?
Cannes is a premium event. We are known to be premium. In fact,
we will not start to slash costs if it is actually going to make a
difference to the event. We know that we’ve got a very strong
brand and we are clearly not going to damage that with one tough
year. We are very conscious of what our brand positioning is, and
how we must maintain and look after that brand.
When do you start working on planning the festival each year?
We start planning the following year’s festival at the previous edition.
We are already in planning mode, talking to people, speaking to
potential presidents of the jury. It is a 12-month rolling cycle that
never stops for organising Cannes.
In terms of the various aspects for the event, we need to select
Jury Presidents and the jury members. We need to decide whether
there should be any change to the categories, sell the sponsorship,
plan how the venue is going to look, plan marketing for the event,
and most importantly put together the seminar programme. We
have 52 seminars and 25 workshops. All of the content has to be
organised and pooled together around that.
And of course, we have three other events - Euro Best in Europe,
Spikes Asia and Dubai Lynx.
Are any event specialist agencies appointed to handle the festival?
We work with a number of organisations, and in Cannes we have a
long-term suppliers who know what the venue requires. We handle
the entire management ourselves with a team of around 50 people.
The same team also supports the other three events organised by us.
What are the efforts undertaken by the management to promote
the festival?
We have a very strong database that we tap into for promoting
the festival. We also have a network of representatives around the
world. In India, we have The Times of India who help us in the
process, and similarly we have representatives in 75 countries who
help us for promotions in those markets. Because of that, there is so
much publicity generated when we announce the Jury Presidents
or anything else.
Finally, what does the audience at Cannes look forward to, while
attending the festival?
I think they are looking for three fundamental things. First, they
are looking for the ‘learning experience’, which is pretty well
managed at Cannes. Second, they are looking for ‘inspiration’. They
see the world’s best work and go home to try and create more
quality work in their own country. Third, they are looking for the
networking opportunities. They are able to meet with some of the
leading thinkers at the parties and the sessions. And finally, they are
looking for fun.
‘Virgin Mobile – Live Stunt/Advertising with Bollywood potboiler’
entry from Mindshare.
Mudra Max was also awarded a Grand Emvie for its work on
TVS Scooty.
In the category for ‘Best media innovation - Ambient media /
OOH’, Lodestar Universal struck Gold with ‘Tata Nano - Nano ya
Na maano!’. This entry also won the ‘People’s Choice Award for
best Case Study presented on August 14’. Mudra Max bagged a
silver for its entry ‘Hindustan Times Newspaper - Opinion Poll’ in
this category.
21
August 2009
‘Best Media Innovations - Events’ category
Agency: Mudra Max
Entry: TVS Scooty – Women on wheels
Award:Gold and Grand EMVIE
fic on different kinds of roads and is a combination of theory and
practice sessions.
Challenge:
The challenge was to conceptualise and execute a novel program
focusing wholly on women. There was a clear need gap for training
women to ride a two wheeler, an area generally considered a man’s
domain. Poor infrastructure added to the woes.
The institute already has presence at TVS dealerships in over 100
cities / towns across the country. These towns are selected on the
basis of population of women in that area and availability of schools
and colleges to conduct road safety programmes. The activity is
carried outside beauty parlours, educational institutions, BPOs, mohallas, shopping complexes and other areas with high concentration of women.
Idea:
The agency came up with a large scale project titled – ‘Women
on Wheels’ in which they set up ‘The Scooty Institute’, to promote
learning of riding a two wheeler. The idea was to teach young
women how to ride the two wheeler and hence create a desire
for the brand.
Execution:
The trainers are women certified by TVS, so that trainees are more
comfortable at the driving school. The course covers handling traf-
Agency: Mindshare
Results:
• Over 10,000 women have enrolled into the program
• There was a 10 to 15 percent rise in the sales of TVS Scooty in
dealerships which had the institute as against those who didn’t
• Over 27,000 women have been contacted so far (June 2008)
• More than 5,000 licenses have been issued to women from the
institute
Agency: Mindshare
Entry: Wheel Touring
talkies in Jatra
Award:Gold
Challenge:
Increasing the brand presence of Wheel amongst the rural
audience in Maharashtra using the unexplored touring jatras which
are popular in rural parts of the State.
Idea:
Traveling cinema is a big hit in small towns. The agency used
well-known actress Alka Tai as part of a Marathi film who traveled
along with the jatra, gave out tickets to patrons at the entrance
and also interacted with them.
The mobile theatres attract thousands of people, who otherwise
lead simple lives. The fair like event sells household necessities, has
games, giant wheels and most importantly, people come here to
watch movies in the makeshift theatres.
Wheel managed to tie up with the festival and its ads were played
in between movies. Static ads and mobile vans were stationed in
the areas to increase brand visibility.
Results:
With this activity, Wheel managed to reach out to four crore
people and garnered a 10 per cent increase in sales and 1.5 per
cent increase in market share.
Entry: Virgin Mobile – Live Stunt/
Advertising with Bollywood
potboiler
Award: Bronze
Challenge:
Launch the new mobile brand targeted towards the youth in an
already highly cluttered market with limited budgets.
Idea:
The agency brought down Virgin’s illustrious founder Richard
Branson to India and convinced him to not only jump off a
skyscraper but also to star in a 20-minute live Bollywood movie
shot live without any cuts, and aired on Channel [V], as the launch
of Virgin Mobile.
Execution:
On the day of the launch, Branson performed a stunt by ‘flying’
down the façade of The Hilton Towers in Mumbai, unveiling the Virgin
Mobile logo in mid flight. He landed into the media and the people
gathered below, where he popped open a bottle of champagne.
The youth were invited to participate in auditions for roles in a 20minute Bollywood pot boiler, Andaz Apna Very Hatke, to be shot
straight with no cuts and aired live on Channel V as Bollywood
Bang Bang. The film also starred Neha Dhupia and a ‘secret’ saviour,
who turned out to be Sir Branson himself, who rescues her.
Results:
The live Bollywood flick featuring Richard Branson and the brand
in the climax ensured lasting impact. The media reach was over
10 million of the TG comprising of Indian youth aged 15-24. Total
media and PR value across media exceeded the investment
threefold, ensuring brand recall, connection and relevance.
August 2009
22
Thinking in three dimensions. Engaging all senses.
By Karishma Hundalani
Designing a ‘Brand Experience’ is both a high risk and a high opportunity job. While creating any experience one has a three
dimensional perspective to consider, and also the potential of engaging every sense of the audience. EVENTFAQS spoke with
several parties that contribute to the creation of brand experiences, to understand what role each of them play, and whether
there is a possibility or need for a better collaborative effort amongst them to create successful brand experiences.
I
n theory, a brand, when created, has a well defined identity,
consisting of the tangible elements, like its name, a symbol, colours
and very often a tagline that qulaifies the brand across its product
or service lines. The intangible elements usually become part of
a very elaborate brand manual, a strategy docket explaining the
brand’s vision, values, characteristics and guidelines for the brand’s
possible manifestations.
A brand leverages itself through many forms of communication,
the most visible of which is the brands’ advertisements. SInce most
of a brand’s advertisements also have a tangilble form (i.e .print
ads, hoardings, TVCs), the tangilble elements of the brand, which
are eaiser to manifest, get easliy communicated. The challenge
lies in how the brand communicates the intangible elements of its
strategy, which truly resonates with the TG, becuase of the deeper
connection it makes.
Jacob Benbunan, Partner, Saffron Brand Consultants,
explained the phenomenan of brand experience. He
said, “A brand is strategy made tangible. The brand
is a promise of an experience and the brand’s visual
identity alone cannot create this experience.”
for any agency managing the communication for the brand. Some
brands retain the custodianship and understanding of the brand
exclusively to themselves, and communicate this essence to an
agency when a communication campaign requirement occurs.
Others allow a shared custodianship with a brand strategy expert.
Internationally, a brand consultant puts together an entire brand
strategy and takes it into its physical and tangible forms like visual
identity creation and even the creation of the brand’s outlets.
Corporates in India are still fairly dependent on the advertising
agency for these inputs. Larger, international brands, enter the Indian
market with fairly tight brand guidelines, and the advertising agency
manifests and tweaks the communication to the Indian diaspora in
accordance with these guidelines.
The role of a brand experience creator therefore, has been limited.
Brands in India usually rely on experiential marketing agencies for
the execution of a brand experience or technical
and production support. With the advent or large,
international brands, this trend is also changing,
with each agency related to a brand taking on
the responsibility of understanding the brand
completely and creating a communication strategy
that gels completely with the brand.
When creating a brand experience in an allocated
physical space, every sense of the target person
needs to be taken in to consideration, and every
Saffron, which recently entered the Indian market
touch point the person might come in contact
and set up shop in Mumbai, has done so because
with must be designed to communicated the
of the growing trend of brand consciousness
Jacob Benbunan
experience. Benbunan added, “For example,
amongst prominent brands (international and
The brand is a promise Indian). Benbunan elaborated, “It’s only recently that
when working on the creating of the Bankister
of an experience
(Bank in Spain) retail outlets, each touch point was
Indian companies have understood the importance
designed in a particular manner to exuberate what
of engaging their employees, customers and other
the brand’s communication was. Each sense of the customer was stake holders. The only way to do this is to have a clear brand
taken into consideration, including the smell of the bank, which was strategy, and today, Indian companies are willing to make this
also designed to breate an association in the customer’s mind with investment. At Saffron, we partner a brand right from the strategy
the brand.”
stage till its physical manifestation, both in the form of its identity and
its space design. The remainder to the brand’s strategy is recorded
The experience creation, even though unique from the brand’s other in a manual for the custodians of the brand to refer to when briefing
communication, must take root from the brand’s core essence. communication agencies. We also work together with the brand
Understanding the brand, its identity and core values, is necessary and agencies when needed, to create campaigns.”
23
August 2009
Ideally, experiential marketing agencies would prefer to deal with one apex, brand custodian team, to learn about the brand. Very often,
due to the convenience of dealing with a single party, clients expect the advertising agency to fulfill the mandate of creating experiential
formats. It is a common complaint of experiential marketing experts, that a deeper understanding of the intangible attributes of a brand is
required to create an experience. The advertising agency holds its ground citing proximity to the brand, and experience in manifesting the
brand across several mediums.
Large advertising agencies with experiential arms leverage their expertise in the brand strategy and communication space, as well as the
live experience creation space, and pitch themselves as one-stop-shops. These agencies underline the advantages of bringing in brand
knowledge from the advertising front, and creating a truly integrated communication campaign. Some experiential marketing experts
argue that the advertising strategy is limited to communicating merely some attributes of the product, while the brand experience is
a much larger premise, dealing with greater engagement. There are others feel an overall understanding of the brand and its existing
communication strategy will enhance the concept basis which the experience is created.
EVENTFAQS spoke with some agencies, both exclusively in the events and experiences space, and also advertising agency networks’
specialist divisions, to understand the importance of agencies collaborating to create the right brand experience on ground. These experiential
marketers also highlighted the importance of understanding the brand in order to design an event to reflect these brand qualities.
Rajkumar Jha
National Creative Head
Ogilvy Action
When it comes to live
events, there is one way that
it is done, and one way that
it should be done. Ideally,
every brand has its own
essence, a distinct target
audience and therefore,
the brand custodians know
what needs to be said in a
given communication platform. We need to understand a brand
before creating a live platform for the brand. It’s like how we get
our surname form our father; we need to collaborate closely with
the brand custodians and the creative / advertising agency to know
about the brand.
Martin D’Costa
Director
Seventy EMG
I don’t think the advertising
agency is able to understand
what an event agency
does, to be able to brief
us on a particular project.
Advertisements are generally
two dimensional and usually
need to communicate just
one or two USPs or features
of the brand at a given time. Knowledge of the brand needs to
come directly from the brand custodians, and has to come in
totality. Everything we create must reflect the brand, including the
architectural design of a given space, its smell, the two dimensional
communication and every other element.
Sunil D’Souza
GM-Operations
Fountainhead Events and
Promotions
Details of the brand can
come from either the agency
or the client, depending on
which brand is being dealt
with. Usually, when the event
is a brand-related activity, the
agency more often than not,
does get involved. Very often
it is a collaborative effort
between the design agency or the advertising agency and us (event
management agency). Some of the rough visual design elements
from an existing campaign or communication idea is shared with
us, and we manifest these in the live experience through the touch
points that are relevant for a particular event.
Arjun Chopra
Associate VP
Bellset Entertainment
The advertising agency
is usually limited in their
understanding of a live
experience creation, and
therefore a collaborative
effort is normally not
needed.
Advertisements
are restricted to a two
dimensional communication,
where as in events we need
to think three dimensionally and create a holistic experience. There
are many elements of a brand that can be leveraged in the live
experience space that can only be understood by people who have
the expertise of creating these experiences. Certain aspects of the
brand can be translated into an experience while other cannot.
Subir Majumdar
Creative Head
Shobiz Experience
I believe it is extremely important to deal with the brand’s creative agency, since the brand has a
persona, and extensions that talk to its consumers in many subtle ways. When it comes to an event,
all those facets can be further leveraged since in the event medium the brand goes experiential
unlike in any other medium. But, this is more spoken about than achieved, since each party
playing the part of promoting or safeguarding the brand exists in its own silo and likes to play safe.
The creative guys try to push the envelope most times, and I believe it is a fact that the best
results are achieved when the creative people of both the brand and the event company
collaborate positively.
August 2009
26
Presenting a brand custodian’s perspective, Tarun Jha, Head- Marketing, Skoda, elaborated on the importance of leveraging the
brand on-ground, elements that need to be infused into the experience, and the parties that play an integral role in the creation of a
brand experience.
Q. How does the brand seamlessly weave in the brand message in an on-ground event? Please
cite some examples.
A. The whole idea of an on-ground event is to bring the brand closer to the consumers. Brand
attributes need to be felt first-hand. E.g. Spoonsorship of the Lakme Fashion Week and our tieups with designers like Kunal Rawal and Manish Malhotra. Fashion Weeks are for an evolved and
discerning audience and they stand for creativity, style and youthfulness. Fashion is a blend of form
and function, much like our cars. In fact, cars are as much an item of personal statement as clothes
and accessories are. Thus it makes sense to associate brand Skoda with such on-ground events.
Q. How important is the visual manifestation of the brand on-ground?
A. Extremely important. For a category that thrives on the ‘touch and feel’ formula, visual manifestation
is paramount. Everything that we do at such events has to be an extension of what our brand
stands for.
Q. How is the experience enhanced through creatives on-ground?
A. Creatives lend a certain ambience in which we want our products to be felt and seen. Everything
from the invite to the backdrop has to seamlessly blend into the brand look. We are extra cautious
to make sure that the creatives do not look like a standard formula that can be replicated at
every occasion. Every piece of creative that we do around an on-ground activity follows a certain theme, which is custom-devised for
the show.
Q. What advantage does the live format hold over other mediums of brand communication?
A. ‘Touch and Feel.’ Live formats give us the opportunity to showcase our product in all its glory and there is no better way to share the
brand experience than first hand discovery.
Q. Which parties are involved in the creation of the Brand Experience? How integral is it for the event management agency and creative agency to work together?
A. For most of our on-ground events, we have an event management agency and our creative (advertising) agency work closely
together. Law and Keneth, which is our creative agency, is also a brand custodian so to say, and it is imperative that they communicate
the look and feel of the brand to the event agency. What usually happens is that the creative agency gives the preliminary ideas and the
event agency builds upon these by virtue of their expertise of manifestation on ground. It is very important that there be commonality
in a brand’s communications through out mediums. Hence I would have to say, it needs to be a collaborative effort amongst all parties;
it’s not like we can have one without the other.
The argument on who understands the brand better is neverending. Fact is, there is a need for a brand’s agencies to work
collaboratively. Fact also is that a live brand experience involves a
higher degree of engagement. When manifesting a brand from a
two dimensional and visually driven state to a three dimensional,
experiential platform, one has to consider many more touch points
and innovative ways of engagement. Designing a brand experience
for an event goes well beyond mere visual design elements of the
brand and into a space that is aligned with the brand’s identity but
also evokes many other sensibilities in the TG, thereby bringing them
closer to the brand.
EVENTFAQS spoke with experiential branding professionals, to
understand what makes up the brand experience and what unique
elements need to be considered in designing this experience. We
also asked them to cite examples from their experience.
Martin D’Costa
It’s about the totality of the design, from a 360 degree perspective.
A live brand experience must encapsulate the essence of the brand.
Any guest that walks in to the event, must know which brand’s
event it is.
We did an event the Cartier ‘Travel with Style’ Concours earlier, in
which vintage cars from across India were showcased . The idea
was to communicate the heritage and luxury that Cartier as a brand
stands for. So we re-created a Maharaja’s Garden, because this
was both reminiscent of the luxurious heritage of India and the
brand Cartier.
For the Goafest on the other hand, we were targeting modern India,
with the top professionals from the advertising world attending the
event. The design of the event was to suit this audience; so it was
very new age, modern and clean.
27
August 2009
Subir Majumdar
Brand communication enters into a vastly challenging
realm when it enters the visual design realm of an event.
No longer are you in known territory like, ‘Oh, that’s a
standard 75 cc or a 200 cc press/magazine advert or a
fixed aspect ratio of a TVC’. I call it a complex pluralistic
environment because the 2 dimensional brand guideline
is thrown into a 3 dimensional reality with the added
overtones of sight, smell and sound - all invoking a
heightened perception from the target consumer. Brand
communication can only objectively state a desired
response from the consumer, but there are no limits when
you enter the 3D world of experiential media. The checks
and balances exist only in terms of the logo usage, color
etc.; beyond that it is all free will. Lesser the compulsions,
greater the break from the mundane. It is creative people
in the experiential industry who can experience such
unprecedented freedom to portray their skill, i.e., if they
are up for the challenge.
Recently we faced this creative conundrum when Shobiz had
to design and build some outstanding environments for the
ArcelorMittal event in Delhi. The client’s logos and brand colors
were empirical but they were all going to find their glory in an
environment that was inspirational. Intangible thoughts like inspired,
bold, and path-breaking were meant to be evoked in the visitor.
The client’s creative agency worked with our team in working out
that perfect blend where the brand communication in fact achieved
greater impact than putting the same on a brochure. Well designed
environments can sometimes make the message very compelling.
Sunil D’Souza
expertise is to take the brand into an experiential platform.
Another important aspect is the mix or rather balance in
an event, between visual communication and interactive
communication. Depending on the objective of the
event and its format, this balance will need to be skewed.
Also, interactive engagement touch points are far costlier
to create, which is where the budget for the event also
comes in.
The brand can create an experience or point of
engagement in many innovative ways. One aspect of the
brand’s communication can even be taken and made into
an experience to better resonate with the audience.
The contribution of an event agency is to understand the brand
and create interactive touch points vis-a-vis visual touch points. Our
At a recent consumer interaction visit of Lewis Hamilton,
branded ‘Happy to Help’ Umbrellas were used to ‘help’ guest
walk from the parking lot to the venue. To communicate the
Value Added Services (Alerts) at the event, an interactive
platform was created, by linking the service to a huge game
of ‘Snakes & Ladders’. You had to type in the alert (in place
of dice), get a number, and move ahead in the game.
Arjun Chopra, Bellset
While creating a live brand experience, it requires thinking
out of the box. Sometimes, when creating an experience
for a brand, the engagement could be built around one or
more characteristics of that brand. For instance, creating
an experience around speed for an automobile brand.
So in one sense, the audience is experiencing the most
important attribute of the brand.
Opulence is a recently launched luxury brand of
signature diamond jewelry. Bellset managed an event
to showcase the brand’s new signature collection. The
brief was simply to create a showcase for Opulence’s
new collection, which is based on the premise of its
rarity. The event concept was based on this premise and
manifested through a fashion show. We brought together
top socialites who have made a mark in society, to walk the ramp,
wearing the new collection. The look and feel of the event was
obviously very luxurious, catering to the high end audience, but this
innovation made a more lasting impression with the audience.
FLEA MARKET
GAME ZONE
FOOD FEST
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Produced by
23rd, 24th & 25th October 2009
Palace grounds, Bangalore.
PACKAGED DRINKING WATER