What Indie agencies can teach the biggies about creativity

If one looks at the standout campaigns from this year, or the last year, a handsome chunk of them have been spearheaded by small, independent agencies—many of them less than a decade old. Campaigns like CRED’s quirky celebrity-laden spots or Boldcare’s edgy, direct narratives have captured public attention and redefined creative benchmarks. These boutique firms are fast becoming the talk of the town, celebrated for their agility, daring ideas, and ability to punch well above their weight.

But why is this happening? Is it simply a matter of David versus Goliath—the small outthinking the big? Or is there something deeper at play in the creative industry? To unravel this, one must explore the evolving dynamics of creativity, organisational structure, and cultural shifts that influence how agencies—both small and large—approach their craft.

A recent report by GroupM estimates that global advertising revenues will surpass $1 trillion for the first time in 2024, with digital platforms commanding the lion’s share of the pie–72.9% of total ad revenues. Amidst this immense scale, the demand for content is insatiable. Audiences have become increasingly discerning, demanding campaigns that entertain, resonate, and, above all, feel authentic. This shift has levelled the playing field, giving smaller agencies—unencumbered by bureaucratic layers—the chance to thrive.

Take CRED’s campaigns as an example. The wildly unconventional storytelling that veered away from traditional banking and finance advertising could have easily been dismissed as too risky by legacy networks. Yet, it proved to be a masterstroke. The campaign became a viral sensation, demonstrating that when it comes to creativity, smaller agencies are willing to gamble on the unexpected—and often win.

Still, the debate is far from one-sided. Legacy agencies have built their empires on decades of trust, reliability, and world-class work. And when it has not worked in their favour, they added more feathers to their cap by simply acquiring smaller fish in the sea—think the big five: WPP, Omnicom, IPG, Dentsu, or Publicis. These giants have their own strengths: massive resources, deep client relationships, and the ability to execute global campaigns at scale. Yet, as Emmanuel Upputuru, Founder and Creative Chairman of EFGH Brand Innovations, astutely observes, “The spotlight hasn’t shifted; smaller agencies have created their own spotlight.”

The underdogs taking centre stage

Once considered underdogs, independent agencies are now challenging the dominance of traditional advertising giants. Their agility and innovation have disrupted the industry, forcing legacy networks to rethink their strategies. The recent Omnicom-IPG merger has been a burning topic since last week, with many contemplating the implications of the giant union and the future trajectory of the industry. This strategic manoeuvre has got voices across the industry pondering the key reasons behind the union and whether it is, in part, motivated by the creative prowess displayed by the Indies in recent years. 

The rising competitive push from independent agencies has been noteworthy as a considerable number of new clients emerge on a routine basis.  

Upputuru offers a nuanced perspective. “The truth is, the list of these smaller agencies isn’t as long as it seems,” he notes. “Most of these smaller agencies are started by creative hotshots—leaders who’ve already earned their stripes in the industry. Every campaign they put out is amplified, dissected, and celebrated, often by the founders themselves.” Upputuru’s insight underlines a critical dynamic: visibility is power. In an era dominated by LinkedIn posts and industry chatter, founder-led agencies have an uncanny ability to steer the spotlight. 

Ashish Kharwatkar, Founder & Chief Creative of Fun Intended Advertising & Stuff, adds, “Legacy agencies have traditionally done amazing work. But the spotlight now is on smaller agencies because they thrive on disruption. They have nothing to lose and everything to prove.”

George Koshy, Co-Founder of The Huddle Agency, pulls no punches. “Too many cooks can spoil the broth,” he says. “Too many marketing people can spoil the whole damn buffet. You know what the smaller agencies have that the larger agencies don’t? Less marketing people to get in the way.” Koshy’s candid critique highlights a key difference: smaller agencies’ ability to act decisively, unburdened by endless layers of approval.

Pragati Rana, Head of Originals and Founding Partner at tgthr, echoes this sentiment: “In a legacy agency, you have 10 years of work experience, but your experience is of doing the ‘same thing’ over and over again. Work that’s safe. Work that will get easily approved. Work that will easily result in revenue to run the big ship. The priorities are centred on revenue.”

For independent agencies, creativity is a top priority. Rana explains how their DNA revolves around standing out, experimenting, and focusing on clients who align with their creative ethos: “The experimentation or the whack, in fact, defines the positioning of the agency. If they offer only regular work, why would clients even go to them?”

Hari Krishnan, Group Chief Business Officer at Quotient Ventures, attributes the success of independent agencies to their “David mindset”: “They’re unshackled by any baggage of the past. They’re not living in any fear. They’re driven by the hunger for glory. They’re also systematically wired to want to punch above their weight.”

On the flip side, however, Pallavi Chakravarti, Founder & CCO,  Fundamental, provides a contrarian perspective, arguing that the notion of smaller agencies outperforming legacy networks in creativity is overly simplistic. “I don’t agree that indies are “outperforming” legacy agency networks in terms of “creativity.” Depends entirely on how we define creativity and memorability and for whom, right? This could well be an industry-wide trend that affects only our industry and absolutely no one else. Whereas any trend in our world should technically have a direct impact on the real, big, bad world out there,” she opines. 

Chakravarti further elaborates, “Creative excellence is seldom a constant state of being. I think we throw the term around far too loosely nowadays and are very quick to pronounce work “creatively excellent” as well. No one is always hitting it out of the park - neither a big nor a small agency.” 

Kunel Gaur, Founder and Creative Director, Animal holds that this phenomenon of smaller players taking centre stage is not restricted to the A&M industry. “This pattern is not limited to the creative industry—it’s a cyclical thing. In our industry, the shift began a few years ago when agencies like Animal started winning pitches against much larger, global companies with teams ten times our size. And it wasn’t just about smaller brands or startups turning to boutique agencies. Even global giants like Google, Uniqlo, Budweiser, and Adidas approached us, seeking fresh ideas for their briefs—and the stuff they couldn’t get from their larger, more established partners,” he shares. 

But how do these smaller agencies consistently punch above their weight? 

The recipe for independent brilliance

At the heart of independent agencies’ creative excellence lies their unique structure and ethos. Gaur explains, “Unlike legacy agencies, boutique agencies operate as tightly knit teams where individuals work across diverse projects. This overlap of sensibilities and ideas fosters creativity and innovation.”

Abhik Santara, Director & CEO at ^ a t o m & Founding Partner, by The Network, identifies three key reasons why independent agencies are thriving: "First, there’s no corporate overhead drama. Independent agencies don’t have to bankroll salaries for folks sipping lattes in New York or Singapore. With fewer management floors to impress, they can throw wild, daring ideas at the wall without sweating the risks—or the rent.
Second, independent agencies often attract new-age brands that share their hunger for creativity. When clients and agencies vibe on the same wavelength, innovation flourishes.
Third, legacy agencies are weighed down by seasoned pros clinging to dated playbooks, struggling to connect with today’s consumers. Independent agencies thrive with younger, dynamic teams empowered to take risks—no fear of outdated hierarchies here, just fresh ideas for new-age audiences."

For many independents, the secret sauce is agility. With lean teams and fewer layers of decision-making, these agencies can pivot quickly, embrace risk, and craft campaigns that feel daring and fresh. “When you run your own agency,” says Kharwatkar, “you’re in charge of everything. My wins are my own, and so are my losses. There’s no one to cushion my fall, but there’s also no one stopping me from doing what I think is best.”

Koshy echoes this sentiment, emphasising the mindset of boldness that defines independents. “We’ve (independent agencies) cracked the code of being nimble, bold and, most importantly, being risktakers,” he shares. “I once sat in a meeting where the major topic of discussion was the colour of the sari of a lady in a television commercial. It took 3 days to arrive at a colour. In smaller agencies, we take a decision and run with it instead of second-guessing ourselves.”

This autonomy is transformative. Without the constraints of bureaucracy or the pressure of servicing massive global accounts, smaller agencies thrive in an environment that prioritises creativity over conformity. They’re not bogged down by processes—or the fear of rocking the boat.

Upputuru’s cricket analogy puts this dynamic into sharp focus. “The approach is Test cricket versus T20,” he quips. “The players of Test cricket who want to play T20 will win. I can’t say the same is true vice-versa.” Smaller agencies, with their unorthodox methods, embody the frenetic, high-stakes energy of T20 matches—fast, unpredictable, and exhilarating.

Kharwatkar further elaborates, “You have to take risks to be remembered. Clients trust smaller agencies because they’re willing to bet on the unusual, the bold, and sometimes even the outrageous.”

The Legacy Network paradox

So, where does this leave the Giants? Are legacy agencies losing relevance, or is this a story of perception over reality?

“Bold ideas, creative use of celebrities, eye-popping execution… these are nothing new,” says Kharwatkar. “Legacy agencies not only did it all but often started these trends.” The challenge, however, lies in scale. With massive teams, global operations, and sky-high stakes, big agencies often find themselves walking a tightrope between innovation and risk mitigation.

Legacy networks are also deeply intertwined with legacy brands. As Upputuru observes, “Do you think giants like Reliance or Tata are losing the spotlight to startups? Is there even a competition here? It’s just about who thrives on chatter.” Big agencies cater to clients with long-term visions and measured approaches, which sometimes make their work less flashy but no less impactful.

“Larger agencies need to get out of their own way. They need to stop gatekeeping creativity with endless layers of approval and start fostering a culture where risk-taking is rewarded, not reprimanded. It’s better to make 50 ardent fans than to try and cater to 50,000 mediocre ones,” Koshy offers his perspective. 

Upputuru also points to the bureaucratic process as potential hindrance, "In big agencies, the layers of approvals and revisions can dilute ideas. By the time a campaign goes live, it often doesn’t resemble the original spark of inspiration."

Culture shift 

While the primary goals of advertising remain the same, it can’t be denied that there’s been a cultural shift on an industry level. 

“The world is changing faster than ever, and the lines between creativity, tech, politics, and finance are not just blurred—they’re extinct. This interconnectedness demands a new mindset for taking on creative work, one that reflects the complexities of our times,” observes Gaur.

Rana highlights the emergence of new creative mediums, saying, “Talking about some of the work we’ve done: using the ‘report’ feature on YouTube to spread awareness about domestic violence in the World’s Most Reported Trailer, or using a banner to educate men about female orgasms in Clit Coupons. These are mediums that never existed before. Hence, ideas using them never existed before.”

Kharwatkar adds that the focus on medium over message has become a troubling trend. “People are fascinated, nay obsessed, with new mediums. There’s a lot of talk about how well you know a medium instead of how good you are at coming up with ideas for your brand,” he laments. 

“The most alarming change is ‘conformity’. While we were encouraged to be different, the new-gen seems to be in love with conformity. You see the same first-level ideas, hacks and templates used for every brand. Trend-jacking, moment marketing and meme-vertising seem to be the new definition of ‘creativity’. Templatising your thinking goes against the very definition of ‘creativity’. If you think about it, all the pieces of work you mentioned earlier are based on old-school thinking. In today’s sea of sameness, those ideas seem disruptive but that’s what we all should be doing all the time,” Kharwatkar elaborates his view. 

Kharwatkar also adds that clients too have changed. He says that while small agencies offer everything from brand building to creative solutions, many clients settle for momentary gains and short-term goals, instead of insisting on the long term benefits of brand building. “However, thanks to the few who do the latter, I do believe that the world will come full circle to real, brand-building work. It’ll take a village, though. So agencies -  big and small - must insist on it too,” he remarks. 

Koshy says that Gen Z and Millennials are rewriting the rules of engagement. “They can sniff out marketing bullsh*t and don’t want a part of it. They want rawness, authenticity, inclusivity and brands that stand for more than just profit.”

“It’s not a new thought though,” Koshy goes on, “Craig David had put it well when he said ‘We need to stop interrupting what people are interested in, and become what people are interested in.’ But we got caught up in our own marketing bullsh*t.” He further adds, “Agencies need to realise that instead of getting mired in algorithms and research reports, they should understand culture and champion causes and actually stand for something. Embrace the zeitgeist.”

Santara observes that the average age of top creative minds in his agency is just 27. While this brings challenges in understanding traditional craftsmanship, it has revolutionized brand communication, “Their ideas click with consumers and brands. As an industry, we need to ditch the outdated belief that only someone with 20 years of experience can deliver great ideas. Sure, experience might teach you a thing or two about craftsmanship, but let’s face it—that’s not the only secret sauce for connecting with today’s audience,” he remarks. 

While Chakravarti agrees that there has been a cultural shift, she is of the opinion that it might not be exclusive to independent or legacy agencies. “Placing vanity metrics above work that actually works is happening more and more in organisations everywhere. Nothing wrong with some flexing every now and then - but for most, it has become the reason to come to work. And that’s worrisome, in my opinion,” she shares. 

Lessons from the little guys

While smaller agencies have their advantages, there’s plenty that legacy networks can learn from their nimbler counterparts. 

Kunel Gaur points to the power of fresh talent. “At Animal, we’ve had team members join us from experimental backgrounds, like architecture, and evolve into exceptional product designers,” he shares. “Legacy agencies must trust their team enough to take full control of their projects, minimising interference and giving a sense of ownership.”

Similarly, Kharwatkar emphasises the importance of rocking the boat. “Legacy agencies need to trust their people, their instincts, and shake things up once in a while,” he suggests. “In other words, stay true to or go back to their roots.”

Chakravarti echoes this sentiment. “At the end of the day, creativity isn’t a department or a designation—it’s a culture. Legacy networks need to foster an environment where ideas can breathe.”

Rana emphasises simplifying processes and culture, explainig, “Far too often, good ideas die in legacy agencies because they didn’t reach the right people or weren’t given the right push. Simplifying processes and creating an open-minded culture can go a long way in encouraging creativity.”

“ Less admin, more advertising. Less management, more doing. Speedy in ideation, even speedier to change track. Be as obsessed about execution as with the idea. Trust good talent with more, sooner than later. Nobody is too senior for any job,” Krishnan remarks, advocating for trusting talent early and focusing on execution.

One of the challenges for both independent and legacy agencies is striking a balance between financial stability and creativity. Rana suggests segmenting briefs based on their potential for experimentation, “Identifying briefs that are fundamental to business and briefs that can be experimented with. Just this one simple thing can create a world of difference,” she opines. 

Santara shares his approach, called the “3Fs”: “We decide whether a new brand brief falls under Fun, Fame, or Fortune. Not every idea can win a Cannes, and not every idea can give us creative joy. Knowing which battles to fight optimises efforts.”

The way forward

For legacy agencies, staying competitive in a rapidly changing industry demands a shift in mindset. “Talent,” says Upputuru, “is where the real battle is.” With rising competition from smaller outfits, attracting and retaining top-tier talent has become more critical than ever.

Kharwatkar suggests that legacy agencies could benefit from embracing smaller-team dynamics. “Not every project needs 20 people in a room. Sometimes, less really is more,” he says. “Empowering smaller groups to lead campaigns could bring back the agility and raw energy that legacy agencies were once known for.” He emphasises the importance of flexibility. 

Santara calls for embracing experimentation, “Advertising mirrors society and, at times, leads its transformation. We must give younger creatives room to breathe—even if that means embracing the possibility of failure. In today’s high-volume content world, a 50% failure rate isn’t a disaster; it’s a learning curve,” he shares. 

Chakravarti offers a simple yet profound piece of advice: “Know yourself. Know what you bring to the table. Know the reason you exist in this business. Your version of excellence will follow.”

Krishnan highlights the importance of impact creatives :“Legacy agencies need to focus on ‘impact creative’ and ensure their frequency across the portfolio.”

On the one thing legacy agencies should prioritise immediately to remain competitive, Rana sums up, "Creating opportunities for more creative ideas to be heard, built and presented to the client. Eventually, rewarded."

Ultimately, creativity is about people, not processes or tools. Santara urges legacy agencies to “unlearn” outdated practices, “What was a hit then will not be a hit now. The world of media, brand KPIs, and consumer mindsets has transformed drastically, and very few rules of the past apply anymore,” he advices. 

“Established networks are in a unique position to balance financial stability and bold, experimental work because they already have the resources to take calculated risks. The real challenge isn’t financial—it’s intent. Bold creativity starts at the top, so the leadership has to be ‘all in’,” says Gaur. He advises legacy agencies to take more risks. “Not taking one is riskier,” he quips.

Koshy adds a poignant reminder: “They need to prioritise their people. Period. Creativity isn’t born from processes or tools, it’s born from people. If legacy agencies want to stay relevant, they need to create environments where their teams can thrive. That means respecting work-life balance, valuing mental health, and giving employees the freedom to experiment and grow.” 

“The agencies that will survive and thrive are the ones that treat their employees as their biggest assets, not as replaceable cogs in a machine,” Koshy remarks. 

“I somewhat remember a quote from Patch Adams, the Robin Williams movie. It goes “You treat a disease, you win, you lose. You treat a patient, you win every time.” Treat employees and clients like they matter, and you have allies for life,” Koshy concludes.

The creative divide between small agencies and legacy networks is not merely a matter of size; it reflects a broader conversation about the nature of creativity in the modern world. Ultimately, the debate isn’t about who’s better but about how both independents and legacy networks can coexist, learn from each other, and push the boundaries of creativity. After all, whether it’s a David or a Goliath, the goal remains the same: work that works.