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In 2013, Dove’s "Real Beauty Sketches" took the world by storm. The campaign, rooted in a simple yet universal human insight—that people often perceive themselves more critically than others do—became one of the most viral ads in history. It wasn’t bound by language, culture, or geography; it was a message that resonated with people from Mumbai to Madrid.
Contrast this with Indian advertising, where standout campaigns exist but are sporadic. Every few years, we produce a gem—think of Surf Excel’s "Daag Acche Hai," Fevicol’s brilliant visual storytelling, or Amul’s timeless social commentary. These ads make a mark, but they remain exceptions rather than the norm. Why?
Are Indian agencies less creative than their global counterparts? Not at all. As Sumanto Chattopadhyay, Independent Creative Director, puts it, “The fact that India produces standout work, albeit less frequently, means that the creative talent is there in the Indian ad industry. So there must be other factors at work.”
These factors range from risk aversion and cultural sensitivities to a lack of time and budget for execution. Indian brands often prioritise safety over storytelling, leading to a glut of uninspired, predictable work. Meanwhile, global campaigns, especially from markets like the US and Europe, consistently push boundaries, create cultural moments, and stand the test of time.
So, what can Indian advertising learn from global campaigns? What separates the good from the great and the great from the unforgettable?
The courage to take risks
In advertising, the greatest enemy of success is mediocrity, which often stems from a fear of failure. Global campaigns that make an impact are those that take creative risks, whether through bold storytelling, provocative messaging, or innovative formats.
Nike’s "Dream Crazy" campaign, featuring Colin Kaepernick, is a prime example. The ad polarised audiences sparked controversy and even led to boycotts. But it also reinforced Nike’s brand philosophy of pushing limits and standing up for what one believes in. The risk paid off: Nike’s stock rose, and the campaign became a cultural landmark.
Now, think about Indian advertising. How often do we see campaigns that challenge norms, question authority, or take a bold stance? Not very often.
As Ramanuj Shastry, Creative Chairman and Co-Founder of Infectious Advertising, puts it: "We see braver work more often from the West because clients and agencies there are more acutely aware that ‘when you risk nothing, you gain nothing.’ So, they are more open to taking creative risks—whether through edgy work or experimental formats."
Indian brands, on the other hand, are notorious for their risk aversion. Whether it’s fear of consumer backlash, political sensitivity, or corporate conservatism, the result is the same: advertising that, more often than not, feels safe, repetitive, and forgettable.
There’s also the issue of cultural sensitivities.
As Chattopadhyay explains, “Under the current dispensation, people are encouraged to take offense at the drop of a hat to things that supposedly insult our great culture. So to avoid being cancelled or facing vandalism, brands play it safe.”
Narendra Jadhav, Creative Director at Grey India, reinforces the importance of trust and calculated risk-taking. "Indian agencies don’t shy away from risks; we need to build trust with clients through great work. When clients see us as creative guardians of their brands, they’ll be willing to jump the bungee with us, sharing the risk of bold ideas," he remarks.
This fear of offending sensibilities stifles creativity. While global brands embrace controversy to spark conversations, Indian brands shy away from anything remotely daring. If we want to create campaigns that truly stand out, we need to break free from this mindset.
Universal insights vs. cultural insights
Great advertising is built on great insights. But not all insights are created equal. Some are deeply rooted in local culture, while others are universal truths that resonate across borders.
George Koshy, Co-Founder of The Huddle Agency, explains: "I think every country has some inherent truths that are relevant for them—culturally, financially, technologically, etc. Campaigns that ride on those insights are what do well, regardless of geography. But the campaigns that perform well globally are often the ones that tap into universal truths."
Jadhav offers a broader perspective: "In India, the structure we largely follow is still need-based output rather than creativity-driven output. Apart from that, India falls under the category of developing countries, unlike the ones mentioned, which affects the way our customers consume ads. For them, functionality presides over creativity."
Siddhesh Khatavkar, Executive Creative Director at DDB Mudra, notes, "We can really dip into the country’s unique culture to pull out ideas that are universal. We need not adapt or adopt global trends—we should own who we are and use it to make a difference."
Take Surf Excel’s "Daag Acche Hai." The idea that children learn through experience—and that getting dirty is a part of that learning—is not just an Indian insight; it’s a universal truth. That’s why the campaign resonated just as strongly in other markets as it did in India.
By contrast, many Indian campaigns rely too heavily on local cultural references. While these can be powerful, they also limit a campaign’s reach. A truly great campaign balances both—rooting itself in local nuances while ensuring the core idea is universally relevant.
Look at Fevicol’s advertising. It is distinctly Indian in execution—whether it’s showing an overcrowded bus impossibly held together or a never-ending wedding feast where the bride and groom remain stuck to their seats. Yet, the core idea of "unbreakable bonds" is something anyone, anywhere, can understand.
The lesson? Indian advertising needs to focus less on regional quirks and more on universal human emotions. Love, fear, humour, nostalgia—these transcend language and culture. When we tap into these deeper emotions, we create work that doesn’t just win awards but also wins hearts.
Why good work needs breathing room
Creativity is not an instant process. The best ideas need time to simmer, evolve, and refine. Unfortunately, in India, advertising often operates in crisis mode—tight deadlines, limited budgets, and last-minute executions.
As Chattopadhyay points out: "If the client does not plan things well in advance and wants, say, an ad film within two weeks of signing off on the concept, the top directors are not available in that time frame. And even if you get a good director on board, you do not give them the time to let the idea marinate with them so that they are able to add real value to it."
Jadhav echoes this sentiment, saying, "In agencies, we often treat some briefs as creative and others as routine, but even simple work done with true creativity can earn recognition. The thrill of approaching every brief creatively has diminished."
Compare this with global campaigns. Major brands invest months, sometimes years, into developing and executing an idea. Take Guinness’s iconic "Surfer" ad—it took months of meticulous planning, shooting, and post-production to create what is now considered one of the greatest ads of all time.
Indian advertising, by contrast, often operates on a "jugaad" mentality—doing the best with what’s available in the shortest time possible. While this resourcefulness can sometimes lead to brilliant results, more often than not, it compromises the quality of the final output.
As Khatavkar suggests: "Even our craft of execution can be pushed further. Many global agencies foster a creative culture that churns out groundbreaking ideas consistently."
One of the key differences between Indian and global advertising is the level of trust between clients and agencies. In global markets, agencies are often given more creative freedom. Indian agencies, however, struggle with excessive client intervention, leading to watered-down ideas.
Shastry highlights this issue: "We must change the way we function as an industry. Clients and agencies must trust and respect each other more. Only then can we take risks together and create truly new work that will make the world sit up and take notice."
Khatavkar echoes this sentiment, noting, "In the past few years, India has been doing well globally. Just like other global agencies, India has been bringing glory through its campaigns consistently. The pressure is the same whether you’re in Europe, the USA, or India. But fostering a culture of creativity is key."
Jadhav reinforces the need for a cultural shift, adding, "The simple answer is creating an environment where every person loves their work. When we start operating with a simple, humble intent of making every creative worth working for, we will start churning out good work every week.
Indian agencies must push back against excessive interference and advocate for the time and resources needed to create work of lasting impact. When trust exists, groundbreaking ideas emerge.
Indian advertising is at a crossroads. We have the talent, the stories, and the cultural richness to create work that can stand shoulder to shoulder with the best in the world. But to do so, we need to change the way we think about creativity.
We need to embrace risk rather than fear it. We need to tell stories that resonate not just locally but universally. We need to give ideas the time and space they deserve. And most importantly, we need to build a culture of trust between agencies and clients, where creativity is not just an afterthought but a priority.
As Shastry reminds us: "We Indian creatives are blessed because we can draw from the vast cultural richness of India. No one has more stories than us. We are the definition of diversity. But we keep casting cookie-cutter families and characters in our ads and somehow hope to make an impact."
The world is watching. If we can break free from our self-imposed constraints, there’s no reason why the next big global campaign can’t come from India. The only question is—are we ready to take that leap?