<ul><li><keyword id="150720" type="COMPANY" weightage="20" keywordseo="IDFC-Mutual-Fund">IDFC Mutual fund</keyword> targets the older generation through its latest campaign. </li><li>It asks its consumers to explore newer opportunties in the field of Mutual Funds. </li></ul>IDFC Mutual Fund just launched its first investor awareness campaign of the year - #PaisonKoRokoMat. In a country of savers, the campaign baseline is a call to action. It alludes to the innate Indian need to save and unwittingly hinder the flow of money, not allowing it to grow to its full potential. A tongue-in-cheek investor awareness campaign, it underlines the fact there are more modern ways to invest your money than to deposit it someplace "good". It shifts the conversation regarding wealth generation from the age old strategy of saving to one of dynamic investments. What makes the 2-film campaign memorable is the eccentric cast of characters bringing unexpected stories to life. Offering a third person perspective that makes the viewer chuckle while at the same time perhaps making them question their own unchanging attitude towards money. #PaisonKoRokoMat is a 360 campaign conceptualised and created by TBWA\India. The platform will find a multitude of expressions across Television, OOH, digital and social media. Speaking of the quirky creative execution which is a clear departure from category conventions, Managing Partner - Creative TBWA\India, <keyword id="1558093" type="PERSON" weightage="20" keywordseo="Parixit-Bhattacharya">Parixit Bhattacharya</keyword> added, “This has been a lot of fun to create. The narrative is distinctive and it needed oodles of craft to bring them to life which Ayappa and his team served delectably. We hope this makes people smile while reconsidering their choice of investments and tilt the conversation in favour of mutual funds. There are many more executions across channels under #PaisoKoRokoMat and we are excited to see what it does in the market.” <div type="Youtube" id="Ge8Vc5DBXI8" title="#PaisonKoRokoMat - Astronaut 35 sec" thumbUrl="https://i.ytimg.com/vi/Ge8Vc5DBXI8/mqdefault.jpg"></div> <div type="Youtube" id="AQ2DpVX2guQ" title="#PaisonKoRokoMat - Castaway 35 sec" thumbUrl="https://i.ytimg.com/vi/AQ2DpVX2guQ/mqdefault.jpg"></div> Commenting on the inspiration behind the idea, CEO of TBWA\India Govind Pandey said "These ads charmingly nudge you to reevaluate your investment choices that you make almost by default.” Gaurab Parija, Head – Sales &amp; Marketing, IDFC AMC, highlighted that “The central thought of the campaign #PaisonKoRokoMat draws inspiration from our lives where inertia is an impediment to our growth and sometimes reflects in the way we allocate our money. What we are trying to bring out through the campaign is a subtle yet strong message of looking beyond the traditional ways of growing your money and using your goals to allocate your money across asset classes and investment solutions.” Director Sanju Ayappa from Early Man Films said, “Really enjoyed working on these films for IDFC Mutual Fund. They are quite bold and unique for the category. Especially, the casting.”

IDFC Mutual Fund's campaign asks consumers to look beyond the traditional ways of growing their money

<ul><li><keyword id="1557667" type="ORGANIZATION" weightage="20" keywordseo="TBWA-India">TBWA India</keyword>’s latest report identifies the changing relationship with food culture, the evolving mindsets of India and ways in which the pandemic is changing the palate of the country.</li><li>Hungry for more? Take a seat, there's a lot on the menu.</li></ul>As we look back at the last decade, we see how our relationships with people, work, activities and of course, food have been redefined. During these trying times, our obsession with food is something we’ve sought comfort in. Food and our attitude towards it has been changing, much of which has been accelerated by the pandemic. TBWA India team has put together a report in an attempt to identify the changing relationship with food culture and the evolving mindsets of India. Meal-eportation <div type="image" title="social, Pune" msid="80346521" hostid="261"></div> People no longer want just a meal; they want a performance that transcends space and time. Beyond menus, cafés and restaurants are now adding a flavour of drama to their recipes. Getting a cup of coffee can involve a walk through a zen-like garden and ordering a cocktail can move you to a street market. According to TripAdvisor, 70% of people believe unique dining experiences are worth paying more for. Social, Pune has a tunnel-like entrance that is supposed to be a transition from new Pune into the old market lanes of camps. It also has an off-beat trampoline work section. Revenge Dining <div type="image" title="social distancing" msid="80346544" hostid="261"></div> Social indulgence is even winning over the fear of contagion. Survivalism is taking a backseat. People are giving in to their senses demanding a break and dining out, after being locked away for months. Dine-out Inside <div type="image" title="novotel meal kit." msid="80346560" hostid="261"></div> To relive the experience of dining out, people are now ordering in the restaurant-like ambience along with food. With the pandemic restricting people's movement, ordering in has turned into experiential dining. People are dressing up, playing music and setting the table, to recreate the dining-out experience at home. For example, Novotel Chamiers has launched their own meal kits to give their diners the restaurant experience at home. The apparel brand Linen Club is encouraging people to bring the restaurant experience home. Gastronomy Express <div type="image" title="Nachos Deposit photos" msid="80346581" hostid="261"></div> Taste buds are now dictating itineraries. As the hunger for experimental experiences rises, both people’s taste buds and minds are opening up to the new. The World Food Travel Association preserves and promotes culinary cultures through hospitality and tourism. 50% Indians are keen on experimenting with authentic local cuisines and are planning their vacations around it. 1 in 4 Indian travellers surveyed said they regard 'enjoying the local food' as the most important reason to travel. *Source: KAYAK, Taste of Travel, The Indian Express, BusinessWorld. *Source - ASSOCHAM Gourmet at Home <div type="image" title="English breakfast" msid="80346600" hostid="261"></div> English Breakfast now competes with Idli Sambhar as Indian taste buds are experimenting with transcontinental flavours. Sinking our teeth into global gastronomy has turned us into gourmet cooks who constantly crave for more. Gourmet food has become an avenue of its own as it is no longer confined to lavish restaurants. For example, Foodhall's product range includes a vast range of products from all over the world. Godrej Nature’s Basket’s offers exotic international gourmet products. According to EconomicTimes, 30%-60% growth in sales for exotic food and international sauces in Nature's Basket and Spencer's. Conscious Consumption Food has levelled up as our ammo in the climate change battle. From dieting to save our bodies to dieting to save our planet, people are realizing how every bite can make a difference. Ve-gan make a difference <div type="image" title="Vegan food from canva" msid="80346650" hostid="261"></div> People are eating well, for both themselves and the world. The dairy loving country is embracing a plant based diet and shifting their focus to sustainable and conscious eating habits. 40% growth in the next decade in alternative meat industry. 90% Indians are extremely likely to purchase plant-based meat. Good Dot, a plant-based meat startup sells 12,000 to 15,000 packets of mock meat each day. BYOC (Bring Your Own Cutlery) <div type="image" title="cutlery" msid="80346707" hostid="261"></div> Whether we’re eating out or ordering in, disposable cutlery is now being cancelled. Restaurants are now encouraging consumers to bring their own containers and bags for takeaway orders to reduce plastic waste. A small green step for us but a large step towards saving the world's depleting resources. Corner House, Bangalore, began a 'Bring Your Own Bowl' initiative to cut down their plastic burden. Arogya Ahaara, a restaurant in Bangalore, encourages their customers to carry containers and bottles for takeaway orders. Zomato and Swiggy have an option that requests restaurants to not send cutlery. Farm to Fork <div type="image" title="Veggies" msid="80346738" hostid="261"></div> Prioritizing health and sustainability, conscious India is going organic. Direct sourcing from farms and a rise in organic farming is indicative of the rising need to consume chemical-free food while conserving the planet. According to India Organic Food Market Outlook, $849.5 Million is the value of the Indian organic food market in 2020. Zomato plans to introduce the ‘farm’ to ‘fork’ concept that works directly with producers, like farms or food producers. Zama Organics an organic food start-up sector of India is to sourcing things that are native to different climatic belts and geographies and bring them to a common platform. Foodie Chef <div type="image" title="wok express." msid="80346774" hostid="261"></div> People are now turning into chefs as they break the culinary rules and add their own twists. 'Make your own' is the latest addition to menus where consumers are given the freedom to make their favourite meal their way by adding specific ingredients &amp; customisations. It's heaven for picky eaters! Wok Express provides consumers the option to ‘MYOB’ make their own food bowls. It can be built from scratch from a variety of different options available. Subway let's its customers design their own sandwiches according to their taste and preferences. According to Restro App, 70% of customers expect customization. Frozen Feast <div type="image" title="Frozen food" msid="80346831" hostid="261"></div> ‘Frozen’ is replacing ‘fresh’ as people prioritise the ability to eat what they want, when they want. With the rising popularity of fast food and people’s increasingly busy lives, fast food has now reached our freezers in the form of frozen food. According to National Investment Promotion and Facilitation Agency, India’s estimated to become Largest consumer of frozen food by 2030. Stag Bite <div type="image" title="Box8 mini meal." msid="80346849" hostid="261"></div> With the ability to now customize portions, people are no longer compromising on the size of their cravings. 'Meal for one' is the latest addition to menus that offers you the perfect portion size for yourself, so that each person gets to eat whatever they want. It is simple, convenient and cost-effective. Menus available on Swiggy Pop – a 'Meal for 1' service. Box8 offers 'Mini Meals' perfectly curated to satisfy one person's hunger.

The changing relationship with food culture and the evolving mindsets of Indian consumers: TBWA India Report

<ul><li>The Effie Index identifies and ranks the most effective agencies, marketers, brands, networks, and holding companies by analyzing finalist and winner data from <keyword id="6983863" type="UNKNOWN" weightage="20" keywordseo="Effie-Award">Effie Award</keyword> competitions around the world.</li><li><keyword id="531122" type="COMPANY" weightage="20" keywordseo="Ogilvy-India">Ogilvy India</keyword> and <keyword id="137221" type="COMPANY" weightage="20" keywordseo="McCann-Worldgroup-India">McCann Worldgroup India</keyword> have been named as the second and third most effective agencies in the world in 2020 Effie Index. </li><li>Meanwhile, WPP named world’s most effective communications company for the ninth year in a row.</li></ul> Ogilvy India and McCann Worldgroup India have been named as the second and third most effective agencies in the world in 2020 Effie Index. Meanwhile, WPP named world’s most effective communications company for the ninth year in a row. The Effie Index identifies and ranks the most effective agencies, marketers, brands, networks, and holding companies by analyzing finalist and winner data from Effie Award competitions around the world. Along with Ogilvy India and McCann Worldgroup, other Indian agencies to make it to the list are DDB Mudra Group (18), <keyword id="9373248" type="COMPANY" weightage="20" keywordseo="the-womb-communications">The Womb Communications</keyword> (24), <keyword id="907986" type="PERSON" weightage="20" keywordseo="Mindshare-India">Mindshare India</keyword> (47) and Hindustan Unilever (77). The Womb Communications was the only agency to make it to the list of Most Effective Independent Agencies, at number 3. The top 10 most effective agency networks were McCann Worldgroup, Ogilvy, BBDO Worldwide, DDB Worldwide, TBWA\Worldwide, Wunderman Thompson, OMD, Grey Group, Publicis and Leo Burnett Worldwide. WPP was followed by Omnicom, Interpublic (IPG), Publicis Groupe and Dentsu in the Most Effective Agency Holding Groups list. Meanwhile, Coca-Cola, McDonald's, KFC, Vodafone and IKEA were named as the top 5 most effective brands. Speaking about the agency’s performance, <keyword id="6375200" type="UNKNOWN" weightage="20" keywordseo="PIYUSH-PANDEY">Piyush Pandey</keyword>, Chief Creative Officer Worldwide and Executive Chairman India, Ogilvy said, “It is yet another recognition of our continued belief in our founder David Ogilvy's words, 'we sell or else'. I am extremely proud of our clients and Team Ogilvy for winning us this recognition.” Mark Read, CEO of WPP, said, “Every day, our clients place their trust in us to deliver tangible results for their organisations. The Effies are a great endorsement of that trust, and I am delighted that WPP continues to set the standard for industry effectiveness. This award belongs to the thousands of individuals across WPP who harness the power of creativity to deliver ideas that achieve real business impact.”

Ogilvy India and McCann Worldgroup India bag second and third spot as Most Effective Agencies in 2020 Effie Index

<ul><li>There’s no doubt that in 2022 and beyond, companies and advertising agencies will dedicate more attention and resources to improving <keyword id="61889" type="General" weightage="20" keywordseo="diversity" source="Orion">Diversity</keyword>, <keyword id="12546708" type="General" weightage="20" keywordseo="equity-and-inclusion" source="Orion">Equity and Inclusion</keyword> (DEI).</li><li>While the ad industry has a lot of women today, many drop out by the time they reach mid-management levels, primarily due to the lack of flexible hours, or the flexibility to work from home.</li><li>Advertising agencies, therefore, have been working towards training more women, to prepare them for leadership roles. They are also launching special programs to encourage queer people to join advertising agencies.</li><li>We speak to a few Creative Agencies that appear to be making strides in improving DEI to find out what’s their current <keyword id="1014511" type="General" weightage="20" keywordseo="gender-ratio" source="Orion">gender ratio</keyword> and got them to share a few ways in which they think the industry can evolve to become more inclusive.</li></ul>The advertising industry is known to lead to change and advertising agencies have the power to shape how people see themselves through their creative campaigns. They have the power to make a positive impact on society. The industry can use its influential power in mending belief systems and nudging people to question their regressive thoughts. From challenging stereotypes to pushing people to embrace the entire gender spectrum, advertising campaigns can work wonders in bringing about acceptance. Apart from using their advertising and marketing tools tactfully, ad agencies can work towards improving gender representation inside their organisations at a structural level. However, at the creative stage, too many perspectives have been excluded over the years. Many organisations hire one queer person and make them the face of diversity. Last year, <a href="https://www.businessinsider.in/advertising/ad-agencies/article/cannes-lions-to-onboard-diversity-equity-and-inclusion-specialist-consultancy-after-former-dean-abraham-abbi-asefaw-called-out-the-organisation-for-lack-of-representation/articleshow/83030888.cms">Cannes Lions was </a>called out for hiring one person of colour at Roger Hatchuel Academy and making them the face of diversity. After drawing flak, the academy and Cannes Lions onboarded a specialised Diversity, Inclusivity and Equity agency to correct its course. In the last few years, advertising agencies in India have taken baby steps towards improving Diversity, Inclusivity and Equity inside their organisations as well. They are trying to build an inclusive culture that transcends barriers, biases and bureaucracy, and makes employees truly feel like they belong. With equal representation of different voices on the inside, historically underrepresented demographic groups are authentically and positively represented in the campaigns too. This leads to robust dialogue, richer decisions, it helps build empathy within the organization to design good, and human-centered solutions. Advertising and Media Insider gathered insights from industry leaders and agencies who appear to be making strides towards DEI about how employers can boost diversity and inclusion in their organisations. A look at the current gender ratio MullenLowe Lintas Group’s gender ratio stands at 35% and the agency network has a similar ratio even at the leadership level. Garima Pant, Group HR Director, MullenLowe Lintas Group told us about their hiring process. She said, “For us, DEI goes beyond Gender. This year with our Apex Council, we plan to steer initiatives and changes aimed towards shaping and embedding DEI in the DNA of the organization. Our commitment to hire more diverse voices has already been put in action; we are signatories on the UN Women Empowerment Principles, we introduced our Referral program with 2X referral bonus aimed at hiring women, PWD’s and LGBTQ+ team members and are also systemically looking at embedding DEI in our processes to ensure accountability while we lead with intent. For advertising, more than most other industries, DEI is not just a humanistic issue, it is a business case. At the heart of diversity and inclusion is getting diverse thinking, diverse perspectives, thereby inspiring imagination and impacting societal change.” DDB Mudra Group, which was one of the first agencies in India to update its insurance policy to include same-sex couples and live-in partners, ended 2021 with a gender ratio of women-to-men at 40:60. Rita Verma, EVP &amp; Head - HR, DDB Mudra Group told us all about the agency’s roadmap for 2022. She said, “DEI has been a key priority for us in the last few years, and our plans for the coming year are built off the work that we have done in the last three years. The Phyllis Project is a DDB global initiative that kicked off in 2018 to help women leaders stay the course and rise more effortlessly through the ranks. In 2020, in the middle of the challenges of the pandemic, we managed to launch the India leg of the program, which is a more intense, consistent and personalised program for our top 25 women talent. We will proudly be graduating the first batch of the Phyllis India project in March of this year, and kick-starting a 2022 batch. Through the last two years, with a mix of mentoring engagements with the best in the business within and outside DDB, training and skill-building interventions and exposure to some of the most inspiring women leaders, we’ve built a set of powerful women leaders. We are proud of the ones who have stayed with us and grown their influence within DDB in India, like Mehak Jaini who heads strategy for us at 22feet Tribal Worldwide, and also the incredible women talent who have gone on to take on bigger challenges in the industry such as Sonal Jhuj at Lego and Shagun Seda at Netflix. Our Open Pride program has seen us consistently engage in conversations with our employees to increase awareness and sensitize them towards the LGBTQIA+ community. We have made a conscious effort to improve our policies, whether it is in the context of insurance for same sex partners, or increased paternity leave, or wellness leaves. This is a result of six monthly reviews to see how we can be more inclusive and sensitive to all employees. We want to lead the thinking in contemporary employee policies and not follow the market, and are constantly seeking inputs from our people to get better at this. Another initiative that we are truly excited about this year, is a series of our Equal Parenting workshops to help our employees become the kind of parents and professionals they want to be and normalise the essential conversation around balancing parenthood and professional success.” At TBWA, 35-40% of their employees are women across client servicing, creative and planning functions. To encourage young women and employees of all genders to speak up their minds, the agency network has been working towards making leaders on the top more accessible to new employees. Namrata Nandan, Executive Director – West, South &amp; New Initiatives, TBWA said, “We have provided a platform to our young promising stars to establish a direct connect with the CEO and present their thoughts on matters pertaining to strategy, operations, organization culture, etc and play a part in the decision-making process. Young millennials and Gen Z are vocal &amp; creative, coupled with a strong need to belong and to be heard. This forum provides a great opportunity for the organization to leverage their creative/out-of-box thinking and at the same time gives them the opportunity to express themselves and participate in decision making.” Ways in which the advertising ecosystem can improve DEI It is important to build a work environment where all employees feel seen, accepted and valued. Rohit Suri, Chief HR Officer, dentsu South Asia said that agencies should ‘foster an Inclusive Culture by cultivating a supportive, welcoming and inclusive workplace where everyone can contribute to their full potential.’ Sharing how the entire advertising ecosystem can elevate DEI across the board, he said, “The advertising industry has a huge responsibility to uphold DEI and ensure stereotypes are removed, create products and service offerings that mitigate bias and it is important for the industry to understand that DEI is all about adapting human behavior, something that requires continuous enhancement of inclusion capabilities and ongoing practice every day. Secondly, along with behaviors organizations must have robust feedback mechanisms and listening systems that reinforce the culture of inclusion and belonging. Third, organisations must invest in training programs and initiatives that invite diverse talent from underrepresented groups to join them to ensure the ideas that come from these diverse teams are better and the clients are better served. Fourth, when DEI is treated as a business imperative it moves beyond the responsibility of one team or a group of people it becomes the responsibility of everyone in the organisation.” Pant broke down her advice into three parts and advised agencies to follow M.A.P. “Measure - What gets measured gets done: The Org Business and Talent dashboard needs to have a diversity and inclusion lens across the employee lifecycle. Awareness - Moving beyond the metrics. Awareness is the greatest agent for change. Policies: Put a stake in the ground. Policies ensure that organizations embrace talent practices that systemically drive Inclusion,” explained Pant. Verma pointed out that ‘with the queer community, the task is slightly different because one does not identify candidates at the outset by their sexual identity.’ What DDB Mudra Group is trying to build is an environment that makes everyone feel safe, nurtured and be given equal opportunity. This happens through consistent awareness building, education, and sensitization workshops and interactions. To bridge this gap, the agency has organised various masterclass sessions for its employees. Adding how the HR industry needs a refreshed approach after the pandemic, she said, “The advertising industry in India is experiencing a lot of change. And it is a great time to re-evaluate the principles on which we want to build our agencies going forward, and therefore the overall ecosystem. Especially in the last couple of years, we have seen unforeseen levels of attrition and burnout owing to the pandemic. What it has taught us is the fact that we need to do better by our people as an industry. Whether it is in terms of providing better work-life balance, supporting and propagating equal parenting, consciously seeking women talent in leadership, rewarding leaders for their role in creating and nurturing diverse and inclusive teams, or partnering clients to better represent women and other faultily represented communities in our work – there is so much we must do as an industry. We believe that product and creativity will be exceptional as an outcome of all these efforts as well. It is an exciting time, and we hope to walk tall in the advertising fraternity by leading from the front on all these issues.”

Here’s how Indian ad agencies are improving Diversity, Equity and Inclusion within their organisations

<ul><li>Seven people from India are part of the jury of this year’s <keyword id="2188061" type="PERSON" weightage="20" keywordseo="Cannes-Lions-awards">Cannes Lions awards</keyword>.</li><li>Jury members hail from across the world and represent the global industry’s leading talent from the broadest spectrum of disciplines. The juries also comprise 51% of female jurors, up from 48% in 2019.</li></ul><keyword id="177378" type="COMPANY" weightage="20" keywordseo="Cannes-Lions">Cannes Lions</keyword> has announced its jury line-up of global experts selected to award the world’s very best creative work and benchmark excellence this June. The Lion-winning work will be announced and awarded during Cannes Lions Live, a fully digital experience, running from 21-25 June 2021, that’s included for free as part of the new LIONS Membership, launching in May. Jury members hail from across the world and represent the global industry’s leading talent from the broadest spectrum of disciplines. The juries also comprise 51% of female jurors, up from 48% in 2019. This year, seven people from India are part of the jury of Cannes Lions awards, mentioned below: <table style="border-width: initial; border-style: none; table-layout: fixed; width: 468pt;"><colgroup></colgroup><colgroup></colgroup><col /><col /><tbody><tr><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Category </td><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Jurors </td></tr><tr><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Direct Lions </td><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Santosh Padhi (Paddy), Chief Creative Officer &amp; Founder, Taproot Dentsu, India </td></tr><tr><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Entertainment Lions </td><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Ashima Avasthi Chaudhuri, Head - Content, Zee Studios, India </td></tr><tr><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Creative Effectiveness Lions </td><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Jitender Dabas, Chief Strategy Officer and Chief Operations Officer, McCann Worldgroup, India </td></tr><tr><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Glass: The Lion for Change </td><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Swati Bhattacharya, Chief Creative Officer, FCB, India </td></tr><tr><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Health and Wellness Lions </td><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Prateek Bhardwaj, Chief Creative Officer, Lowe Lintas, India </td></tr><tr><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Titanium Lions </td><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Sonal Dabral, Writer, Director, Creative Consultant, Tribha, India </td></tr><tr><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Pharma Lions </td><td style="border-left:solid #000000 2.25pt;border-right:solid #000000 2.25pt;border-bottom:solid #000000 2.25pt;border-top:solid #000000 2.25pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Parixit Bhattacharya, Managing Partner - Creative, TBWA\ India </td></tr></tbody></table> This year’s Lions juries see the highest ever representation from global brands including: Nike Inc, Levi Strauss &amp; Co, Diageo, IKEA, Mars Incorporated, Mondelez, Beats by Dr Dre, Uber, KFC, Oatly, Squarespace, ByteDance K.K., Nestlé, and Aesop. Platforms and entertainment companies represented are: Twitter, Facebook, Netflix, YouTube, Disney+, Spotify, Google, Twitch, alongside NBCUniversal, Vivendi, Universal Music Group, Columbia Records, and Warner Music Central. Among the many global networks represented are jurors from McCann, Ogilvy, Publicis, BBDO, VMLY&amp;R and Dentsu who are joined by specialist and independent agencies such as Quiet Storm, Above &amp; Beyond, Stink Studios, Futerra and Tech and Soul. Simon Cook, Managing Director, LIONS, says: “It’s hugely exciting to welcome this formidable line-up of experts, who will unite across time zones and backgrounds, representing the full scale of our industry. Each year, our juries grow more diverse, which is part of our commitment to appoint outstanding talent from right across the breadth of our global community.” Philip Thomas, Chairman, LIONS, comments: “After pausing the awards last year, our juries will be awarding Lions across two years’ worth of work, which is an unprecedented opportunity to set the global creative benchmark for two years of outstanding creativity.” Thomas adds: “The awards will be the heartbeat of Cannes Lions Live with announcements, analysis, insights and interviews taking place throughout the week. We can’t wait to celebrate and immerse ourselves in Lion-winning creativity alongside our community in June.” Lions juries will take part in remote judging from their home locations worldwide. Speaking about the process, Susie Walker, VP Awards &amp; Insight, LIONS, explains: “Judging is a very human experience. It must also be a rigorous and robust process. Our unique judging platform, successfully trialled at other Lions awards this year, has been built to ensure the value and integrity of the Lion is upheld. We’re committed to delivering a world-class judging experience of the standard we’re known for, and crucially, we want every piece of creative work to be given the time and discussion it deserves.”

Here are the 7 Indians who will be a part of Cannes Lions Jury this year

<ul><li>The pandemic has sparked a flurry of <keyword id="6463276" type="General" weightage="100" keywordseo="nostalgia" source="Orion">nostalgia</keyword> ads and we are all for this trend.</li><li>Indian brands are capitalizing on nostalgia and memories to connect with their consumers and remind them of simpler times.</li><li>From Cadbury and CRED to Dunzo, brands are reviving what is old into new in their marketing campaigns.</li><li>We speak to creative folks from the <keyword id="35666" type="General" weightage="20" keywordseo="advertising" source="Orion">advertising</keyword> industry to find out why nostalgia works and how should brands go about it.</li></ul>It is summer and the clock strikes 11:30. You are late for school because you end up catching Tom and Jerry on TV. You have seen this episode, but you don’t want to move because you are curious to find out whether Jerry will fool Tom yet again. You are sipping on Rasana, there’s a light breeze from your 4-feet-tall cooler that makes a buzzing sound and your grandfather is yelling at you to turn off the TV as he relishes mangoes and reminds you that your school bus might arrive any minute. Cartoon Network’s Tom and Jerry pauses, a commercial takes over and a jingle plays in the background, “Kuch khaas hai hum sabhi mein” as you tie your shoelace and run to catch the bus. You might not have lived the exact memory, but I am sure it brings a smile to your face, from ear to ear and takes you back to the days when you were not constantly anxious about catching a deadly virus or losing your loved ones to it. Revisiting these old, simpler days has found a space in marketing yet again. Due to the pandemic, from CRED and Swiggy Instamart to Cadbury, brands are trying to evoke nostalgia to connect with consumers on an emotional level and reach out to the inner child in us that lived in a happier universe. Consumers have also found comfort in these ads in uncertain times. “Remember those old times when…” itself is a great hook that sparks interest and marketers are well aware of this tactic. Last month, <a href="https://www.businessinsider.in/advertising/brands/news/cadbury-dairy-milk-recreates-its-iconic-stadium-advertisement-with-a-wonderful-twist/articleshow/86284608.cms">Cabdury’s remake of its ‘Kuch Khaas hai’</a> ad from the 90s took the internet by storm. Social media was abuzz with conversations on gender equality and nostalgia. Then came Swiggy’s campaign that gave a twist to <a href="https://www.businessinsider.in/advertising/brands/news/swiggy-instamart-reimagines-5-stars-ramesh-suresh-and-colgates-kya-aapke-toothpaste-mein-namak-hai-ads/articleshow/86836261.cms">5 Star’s Ramesh and Suresh </a>and Colgate’s Kya Aapke Toothpaste mein namak hai ads and took us down the memory lane again. Pizza Hut brought back Anuradha Menon aka Lola Kutty of 90s fame and <a href="https://youtu.be/gADj-r1t08U">CRED’s ‘The OG’</a> ad with old cricketers made a lot of noise too. Debashish Ghosh, National Creative Director, 22feet Tribal Worldwide explained why nostalgia sells. He said, “Nostalgia is comfort food. It feels good and fond memories are linked to it. There is a deeper emotional glue. It's sticky. So it sells. A great example is one of the longest-running social media trend #throwbackthursday. Brands tap into it to help the audience remember their best memories from the past. Be it personal, popular or stuff of legend. Like famous moments, celebrities, old fads &amp; trends. And once they give it a new spin, they make a unique connection with that memory. It adds immensely to their brand metric and helps them foray into culture.” A <a href="https://static.billboard.com/files/2020/04/COVID-19-Entertainment-Tracker-Release-1-1586793733.pdf">recent study</a> exploring the effects of COVID-19 on entertainment industry and consumer behaviour revealed that more than half of today's consumers are finding comfort in old TV shows, films, and songs from their youth due to the pandemic. “Nostalgia is a time machine. An experience we don’t have access to in the present. It transports us to a time we want to live again,” said Parixit Bhattacharya, CCO, TBWA\India. Adding why nostalgia works magically for brands, he said, “Brands with a shared sense of history with the people they serve can reference nostalgia and rekindle the love. Of course, it works only when the audience is old enough to feel nostalgic about something. We now have two generations of people in the country who grew up with a few household brands over the years and have witnessed a massive change in the country. So these brands can dip into the deep well of shared memories to rekindle the love. While there are really no rules to this, a sense of shared history is crucial to land a potent connection. Nostalgia can lead to almost involuntary action; a bullet through the crevices of our past hitting a sweet spot for people and the brand. Therein lies the lure of Nostalgia. It is so potent it can actually inform the product strategy in some categories, not just stories in communication. On the other hand, Pinaki Bhattacharya, Chief Strategy Officer, Wunderman Thompson India believes that most of these ads were trying to make a timely statement. “Generally speaking, a throwback or referencing something popular from the past and setting it in a surprisingly different or new context can be an interesting device in storytelling. Of course, only if done right. Some brands have tried doing it in different ways recently- some very successfully while some were middling. Barring a couple, I don’t think most of the brands were trying to only evoke nostalgia- they did it, to either make a timely statement using a very memorable ad (say, CDM) or to find a quirky way to drive home their proposition (say, Dunzo). The bottomline is that brands don’t do this to just evoke memories from the past and make its consumers feel good- it has been used to meet the brand’s objectives in the current market and designed to be relevant and attractive for its current consumers,” said he. By invoking nostalgia around iconic ads, Swiggy Instamart managed to connect with both millennials and GenZ. Telling us more about Swiggy Instamart’s recreation of iconic ads, Ashish Lingamneni, Head of Brand at Swiggy said, “With the latest Instamart campaign, we partnered with our creative agency at Lowe Lintas who came up with a fresh concept to recreate iconic ads with a Swiggy Instamart twist. In our campaign, we pay homage to some of the most iconic ads of our times but depict a world where the product suddenly isn't available after all that build-up and Instamart comes to the rescue of the protagonist with instant delivery. Within a few weeks, these TVCs have become widely popular among viewers owing to their fun, cheeky and relatable nature." So, what’s the psychology behind nostalgia and which kinds of brands can adopt this unique kind of marketing strategy? Varun Duggirala - content creator, podcaster, entrepreneur and personal development pundit answered, “Products that have been universally present for a more extended period as a category or brand find it much easier to tap into nostalgia. Add to that a historical connection with pop culture ( music, movies, fashion, etc.) or an iconic piece of creative advertising around the brand, and it becomes all the easier. For newer product categories, especially tech, etc., it's more challenging to capitalise, but as we've seen with throwback phone models coming up, even many mainstream tech product categories have been around long enough to capitalise.” When it comes to <keyword id="11335354" type="General" weightage="20" keywordseo="nostalgia-marketing" source="Orion">nostalgia marketing</keyword>, some brands go retro to transport you into a world that had a completely different style while some prefer paying homage to a historic event. Indian brands have also used nostalgia marketing to reminisce over an old, lost product -- for example Rola-Cola. It was relaunched after customers begged the brand to return the candies to the shelves. However, in their attempt of contemporizing an old ad or memory, brands often fail to retain the ad’s essence or they fail to give it a modern twist as per the current environment. When rolling out revived campaigns that might have worked wonderfully in the past, it is important to check that its values align with today’s audiences, both culturally and socially. Sometimes, even the most recalled ad can spark controversy and a brand should completely steer clear over many sexist ads that should remain in the 90s. So, if you’re considering the nostalgia route to gain traction with customers, Duggirala has some tips you should think about. He shared, “Any creative should first have a deep connection with two aspects, firstly- what is the cultural norm at this moment of time ( what do consumers believe in as core values and what is par for course in terms of discourse or dialogue) and what do consumers today believe in vs what they did in the time from the past. Secondly - it's essential to understand if the emotional core of the original resonates as strongly at this moment for a broader audience and their perception of the brand and its category at this moment. These two are the most essential guardrails to look at.” Ghosh also advised brands to find the brand connect and keep it simple. Sharing a list of things brands should keep in mind, he said, “Know your customer persona. Tap into your brand history if any. Find an interesting old concept but one that is not overexposed. Don’t belabour the connection. Make sure that the piece fits your brand and not the other way around. Keep it simple. Pick a single aspect of the old memory and let the audience relive it thoroughly. Keep the brand connect simple as well – a feeling, a benefit.”

Why are Indian brands transporting consumers to older times with their campaigns?

<div class="KonaFilter image-container display-table float_right click-to-enlarge"><div><div class="image"><a title_source="YouTube/yumyumgle" title_caption="Esthe WAM's bowling ad won a CLIO Award in 2009 depite its ridiculous portrayal of a woman." class="zoomin" href="http://static6.businessinsider.com/image/52f271356bb3f7626ec251ae-960/esthe-wam-bowling-ad.png"><img src="http://static6.businessinsider.com/image/52f271356bb3f7626ec251ae-617-463/esthe-wam-bowling-ad.png" border="0" alt="Esthe WAM Bowling ad" /></a>YouTube/yumyumgleEsthe WAM's bowling ad won a CLIO Award in 2009 depite its ridiculous portrayal of a woman.</div></div></div>After issuing a call to action about gender inequality in the <keyword id="35666" type="COMPANY" weightage="100" keywordseo="advertising">advertising</keyword> industry last May, the CLIO Awards announced Wednesday that the jury for its 2014 awards would have more women on it then men.
According <a href="http://www.clioawards.com/press/index.cfm?year=2014&amp;pressid=262">to the list of jury members released by the event's organizers</a>, there will be 30 female jury members this year and only 29 men.
"We've been talking about it for over a year, since before we even started going through the jury selection process," CLIO Awards executive director Nicole Purcell said. "It really started to come together, and this year, we have an amazing jury."
The CLIO Awards is an annual, international competition honoring achievements in advertising, design, and communications. Each year, agencies and individuals submit their best work for consideration in 18 media types ranging from film to direct marketing. Since its inception in 1959, the contest has been judged by juries that were primarily male.
In the past, the show has given awards to ads that were not exactly progressive when it comes to gender, like <a href="http://www.youtube.com/watch?v=Ptmk-7h075k">this 2009 winner</a> for a Japanese hair removal brand called Esthe WAM:
<iframe width="620" height="465" frameborder="0" src="//www.youtube.com/embed/Ptmk-7h075k"></iframe>
The CLIOs set about to change that this past year, when the organization announced its intention to field a gender-equal jury in 2014 to be more strongly reflect the contributions of women to the advertising industry.
To do this, Purcell and her team created a place on the CLIO Awards website for people to submit anonymous nominations, since women are less likely than men to submit themselves for consideration. The CLIO Awards also met with the major agencies to find talented women and encourage them to serve as judges.
With the help of the agencies and the awareness created by ongoing industry conversation gender equality in creative roles, Purcell said the task of finding talented females for her juries was not particularly difficult.
"It came easier than it has in the past, I think because of everyone talking about creative women in the field," Purcell said. "People are always asking 'Where are these female creatives?' Well, guess what? We just found them."
Purcell said she did not think the increased number of women on the juries would alter the results of the competitions in any way.
"At the end of the day, when we start the jury selection process, what we're looking for is the thought provokers and the idea generators," said Brooke Barasch, the CLIO Awards' director of marketing. "The idea really isn't about the perspective of males or females, it's really about just having the creative minds in the room."
Here's the complete list of jury panels the CLIO Awards announced today:
FILM
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="5">
<tbody>
<tr>
<td>
Anne De Maupeou
</td>
<td>
Chief Creative Officer, Marcel - Paris, France
</td>
</tr>
<tr>
<td>
Jon Flannery
</td>
<td>
EVP, Executive Creative Director, DraftFCB - Chicago, USA
</td>
</tr>
<tr>
<td>
Nick Gill
</td>
<td>
Partner, Executive Creative Director, BBH - London, UK
</td>
</tr>
<tr>
<td>
Mike Smith
</td>
<td>
Executive Creative Director, BBDO - New York, USA
</td>
</tr>
<tr>
<td>
Agnello Dias
</td>
<td>
Chief Creative Officer &amp; Co-founder, TAPROOT - Mumbai, India
</td>
</tr>
<tr>
<td>
Anita Ríos
</td>
<td>
General Creative Director, JWT - Buenos Aires, Argentina
</td>
</tr>
<tr>
<td>
Raquel Martínez
</td>
<td>
Executive Creative Director, McCann - Madrid, Spain
</td>
</tr>
<tr>
<td>
Justine Armour 
</td>
<td>
Creative Director, Wieden+Kennedy - Portland, USA
</td>
</tr>
<tr>
<td>
Kentaro Ichiki 
</td>
<td>
Creative Director, Hakuhodo - Tokyo, Japan
</td>
</tr>
</tbody>
</table>
 
PRINT, PRINT TECHNIQUE &amp; OUT OF HOME
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="2">
<tbody>
<tr>
<td>
Alexander Schill
</td>
<td>
Chief Creative Officer &amp; Partner, serviceplan - Munich, Germany
</td>
</tr>
<tr>
<td>
Bechara Mouzannar
</td>
<td>
Chief Creative Officer, Leo Burnett - Beirut, Lebanon
</td>
</tr>
<tr>
<td>
Anselmo Ramos
</td>
<td>
VP Creative Director at Ogilvy Brazil &amp; Founder at DAVID, Ogilvy - Sao Paulo Brazil
</td>
</tr>
<tr>
<td>
Gigi Lee
</td>
<td>
Executive Creative Director, Y&amp;R - Kulala Lumpur, Malaysia
</td>
</tr>
<tr>
<td>
Carol Lam
</td>
<td>
Chief Creative Officer &amp; Managing Partner, Saatchi &amp; Saatchi - Quarry Bay, Hong Kong
</td>
</tr>
<tr>
<td>
Lisa Fedyszyn
</td>
<td>
Creative Director, WHYBIN \ TBWA - Auckland, New Zealand
</td>
</tr>
<tr>
<td>
Xanthe Wells
</td>
<td>
‎Chief Creative Officer, Pitch - Los Angeles, USA
</td>
</tr>
<tr>
<td>
Nikki Lindman
</td>
<td>
Creative, Adam&amp;Eve DDB - London, UK
</td>
</tr>
</tbody>
</table>
Hugo Corredor Chief Creative Officer, Sancho BBDO - Bogota, Colombia
 
DIRECT &amp; ENGAGEMENT
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="7">
<tbody>
<tr>
<td>
Judy John
</td>
<td>
CEO and Chief Creative Officer, Leo Burnett - Toronto, Canada
</td>
</tr>
<tr>
<td>
Merlee Jayme
</td>
<td>
Chairman &amp; Chief Creative Officer, DM9 - NCR, Philippines
</td>
</tr>
<tr>
<td>
Doerte Spengler-Ahrens
</td>
<td>
Chief Creative Officer, Jung von Matt/fleet - Hamburg, Germany
</td>
</tr>
<tr>
<td>
Ioana Filip
</td>
<td>
Group Creative Director, McCann - Bucharest, Romania
</td>
</tr>
<tr>
<td>
Ted Lim
</td>
<td>
Chief Creative Officer, Dentsu - Singapore, Singapore
</td>
</tr>
<tr>
<td>
Shahir Zag
</td>
<td>
Chief Creative Officer, Y&amp;R - Dubai, UAE
</td>
</tr>
<tr>
<td>
Andrey Gubaydullin
</td>
<td>
Executive Creative Director &amp; Co-Owner, Voskhod - Yekaterinburg, Russia
</td>
</tr>
<tr>
<td>
Will Rust
</td>
<td>
Executive Creative Director, Ogilvy - Prague, Czech Republic
</td>
</tr>
</tbody>
</table>
 
BRANDED ENTERTAINMENT &amp; CONTENT
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="7">
<tbody>
<tr>
<td>
Kerry Keenan
</td>
<td>
Partner, Chief Creative Officer, Deutsch - New York, USA
</td>
</tr>
<tr>
<td>
Leslie Sims
</td>
<td>
EVP, Executive Creative Director, McCann Erickson - New York, USA
</td>
</tr>
<tr>
<td>
Kat Thomas
</td>
<td>
Co-Founder &amp; Executive Creative Director, One Green Bean - Sydney, Australia
</td>
</tr>
<tr>
<td>
Hadas Liwer
</td>
<td>
Chief Creative Officer, JWT - Tel Aviv, Israel
</td>
</tr>
<tr>
<td>
Jesse Coulter
</td>
<td>
Co-Chief Creative Officer, Creative Artist Agency - Los Angeles, USA
</td>
</tr>
<tr>
<td>
Chris Bruss
</td>
<td>
Vice President of Branded Entertainment at Funny Or Die &amp; President
at Gifted Youth - Los Angeles, USA
</td>
</tr>
<tr>
<td>
Fred Levron
</td>
<td>
Executive Director/Creative Director Digital and Branded Content, Ogilvy - Paris, France
</td>
</tr>
<tr>
<td>
Sergio Gordilho
</td>
<td>
Co-President And Chief Creative Officer, Africa - Sao Paulo, Brazil
</td>
</tr>
<tr>
<td>
Silvia Goh
</td>
<td>
Chief Content Officer, LiquidThread/Starcom Mediavest Group - Shanghai City, China
</td>
</tr>
</tbody>
</table>
 
DIGITAL &amp; DIGITAL TECHNIQUE
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="7">
<tbody>
<tr>
<td>
Alessandra Lariu
</td>
<td>
Co-Founder, SHESAYS - New York, USA
</td>
</tr>
<tr>
<td>
Brent Choi
</td>
<td>
Chief Creative &amp; Integration Officer, JWT - Toronto, Canada
</td>
</tr>
<tr>
<td>
Brad Kay
</td>
<td>
President &amp; Partner, SS+K - New York, USA
</td>
</tr>
<tr>
<td>
Paul Collins
</td>
<td>
Creative Director, RG/A - Stockholm, Sweden
</td>
</tr>
<tr>
<td>
Wain Choi
</td>
<td>
Global VP &amp; Executive Creative Director, Cheil Worldwide - Seoul, South Korea
</td>
</tr>
<tr>
<td>
Eric Schoeffler
</td>
<td>
Chief Creative Officer, DDB Tribal Group GmbH - Düsseldorf, Germany
</td>
</tr>
<tr>
<td>
Jonathan Woytek
</td>
<td>
Creative Director, Pereira &amp; O'Dell - San Francisco, USA
</td>
</tr>
<tr>
<td>
Luciana Haguiara
</td>
<td>
Digital Creative Director, Almap BBDO - Sao Paulo, Brazil
</td>
</tr>
<tr>
<td>
Michal Pasternak
</td>
<td>
Chief Experience Officer, Huge - New York, USA
</td>
</tr>
</tbody>
</table>
 
DESIGN
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="7">
<tbody>
<tr>
<td>
Sagi Haviv
</td>
<td>
Partner &amp; Designer, Chermayeff &amp; Geismar &amp; Haviv - New York, USA
</td>
</tr>
<tr>
<td>
Greg Quinton
</td>
<td>
Executive Creative Directorm The Partners - London, UK
</td>
</tr>
<tr>
<td>
Justin Drape
</td>
<td>
Chief Creative Officer / Co-Founder, The Monkeys/Maud - Sydney, Australia
</td>
</tr>
<tr>
<td>
Hideto Yagi
</td>
<td>
Creative Director, Dentsu - Tokyo, Japan
</td>
</tr>
<tr>
<td>
Katie Taylor
</td>
<td>
Executive Creative Director, Landor Associates - Hamburg, Germany
</td>
</tr>
<tr>
<td>
Joanne Thomas
</td>
<td>
Creative Director, The Jupiter Drawing Room - Cape Town, South Africa
</td>
</tr>
<tr>
<td>
Gesina Roters
</td>
<td>
Creative Partner, Day Creative Business Partners B.V. - Amsterdam, Netherlands
</td>
</tr>
</tbody>
</table>
 
CONTENT &amp; CONTACT, INTEGRATED CAMPAIGN, &amp; INNOVATIVE MEDIA
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="7">
<tbody>
<tr>
<td>
Pablo Del Campo
</td>
<td>
Chief Executive Officer, Del Campo Saatchi &amp; Saatchi - Buenos Aires, Argentina &amp; Madrid, Spain
</td>
</tr>
<tr>
<td>
Humbarto Polar
</td>
<td>
VP, Chief Creative Officer, Mayo DraftFCB - Lima, Peru
</td>
</tr>
<tr>
<td>
Bruno Bertelli
</td>
<td>
Executive Creative Director, Publicis - Milan, Italy
</td>
</tr>
<tr>
<td>
Bridget Jung
</td>
<td>
Chief Creative Officer, DigitasLBi - Paris, France
</td>
</tr>
<tr>
<td>
Kerry Platts
</td>
<td>
Executive Creative Director, Wunderman - Dubai, UAE
</td>
</tr>
<tr>
<td>
Malvika Mehra
</td>
<td>
National Creative Director and Executive Vice President, Grey Worldwide - Mumbai, India
</td>
</tr>
<tr>
<td>
Margaret Johnson
</td>
<td>
Executive Creative Director, Partner, Goodby Silverstein &amp; Partners, San Francisco, USA
</td>
</tr>
<tr>
<td>
Anja Radulovic
</td>
<td>
Creative Director, Leo Burnett - Belgrade, Serbia
</td>
</tr>
<tr>
<td>
Sue Anderson
</td>
<td>
Co-Executive Creative Director, Crispin Porter + Bogusky - Los Angeles, USA
</td>
</tr>
</tbody>
</table>

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