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As social media platforms like YouTube, Instagram and TikTok rose to prominence over the past decade, so did a new class of digital tastemakers. These influencers, once hobbyists posting about beauty tips or gaming reviews, have become central to how brands reach consumers online.

Today, influencer marketing is a $33 billion global industry, more than tripling in size since 2020, according to Statista. And as marketers follow audiences across digital platforms, the world’s largest advertising holding companies are following the money, snapping up influencer marketing firms to bolster their digital portfolios.

For the ad giants, building in-house influencer operations has proved challenging. In one case described by an industry expert, an India-based media agency attempted to create its own influencer team but struggled with the sector’s advance payment requirements, leading to payment delays, public backlash on social media, and the dissolution of the team within a month.

“Since no one offers a one-year runway or financial cushion to set up a team, public ad holding companies view acquisitions as a practical route,” the expert said. “They’re buying both talent and revenue, solving the P&L issue at once.”

Publicis Groupe, the world’s third-largest advertising company, has been among the most aggressive acquirers in the space. In July 2024, it purchased Influential, an AI-powered influencer marketing platform, in a $500 million deal. Influential, which manages a network of 3.5 million creators and data on 90 percent of global influencers with over a million followers, will combine its capabilities with Epsilon, Publicis’ data and identity unit, to offer clients a unified, AI-driven approach to influencer campaigns.

Earlier this year, Publicis also acquired BR Media Group, a leading Latin American influencer marketing firm with a network of 500,000 creators, further tying its influencer capabilities to Epsilon’s data-driven targeting.

In May, Publicis added Captiv8, another influencer marketing platform, to its roster, positioning it within Publicis Connected Media and integrating it with Influential to strengthen its global influencer offering. Captiv8, which processes over 2.5 billion social posts annually across 120 countries, enables creators and brands to monetize content while providing detailed, real-time measurement of campaign outcomes.

Other holding companies are also expanding their influencer ambitions. Stagwell, a U.S.-based marketing and communications group, acquired Tel Aviv-based LEADERS in 2024. LEADERS, founded in 2017, operates an AI-powered influencer SaaS platform, IMAI, and has worked with clients like Nespresso and Coca-Cola. The platform allows brands to launch campaigns with just a few clicks while providing analytics and sales prediction tools.

WPP, the world’s largest ad holding company, acquired Goat, a UK-based agency specializing in data-led influencer campaigns, in 2023. Goat was integrated with WPP’s GroupM to form a global influencer marketing agency under the Goat name, aiming to deliver measurable, outcome-based campaigns for clients such as Meta and Dell.

Earlier, in 2022, WPP acquired Village Marketing, an influencer-led creative agency in North America, folding it into the VML network. Village Marketing, founded in 2013, is known for running social-first campaigns for brands like Nike and Netflix.

The consolidation wave reflects a broader recognition that influencer marketing is no longer an experimental line item in advertising budgets but a critical part of the media mix, demanding scale, data integration, and operational efficiency.

As social media platforms evolve and digital behaviors shift, these acquisitions position the ad giants to offer clients a seamless path to reach consumers - one sponsored post at a time.

<strong>Read More:</strong> <a href="https://www.storyboard18.com/brand-makers/why-brands-are-bringing-influencer-marketing-in-house-66080.htm">Why brands are bringing influencer marketing in-house</a>




Ad holding giants go on a shopping spree for Influencer Marketing firms

Arena India, a part of Havas Media Network India, has won the integrated media mandate for smartphone brand realme. The mandate was won following a competitive multi-agency pitch. The mandate will be managed out of the agency’s Gurugram office.


With this win, Arena India has not only retained its existing business with realme but has also expanded the partnership to include the full-funnel integrated mandate spanning traditional, digital, and strategic partnerships.


Arena India, led by Manish Sharma, president – Arena India, offers focused, agile, and ROI-driven media strategies tailored for high-growth brands in the digital-first economy. 


Zhang Tao, marketing head, realme, said, "We’re excited to deepen our association with Arena India and Havas Media Network. Their understanding of our brand’s ambition, consumer-first mindset, and ability to deliver innovative, converged solutions at scale made them the right choice. As realme continues to grow its footprint in India, we look forward to a partnership that builds strong brand narratives and drives business outcomes.”


Mohit Joshi, chief executing officer, Havas Media Network India, added, "realme is a powerful and progressive brand, and we are proud to take our partnership to the next level. Arena India’s integrated approach and sharp media thinking have been key to this win. This expansion reinforces our commitment to driving scale and effectiveness for one of India’s most dynamic tech brands."


Uday Mohan, chief operating officer, Havas Media, said, "This is a significant win for us not only in terms of scale but also in terms of strategic importance. It demonstrates our ability to stay ahead of the curve with connected solutions, backed by data intelligence and category expertise. The mandate reflects our growing strength in managing complex, multi-platform mandates in a competitive landscape."



<strong>Read More:</strong> <a href="https://www.storyboard18.com/quantum-brief/havas-media-network-india-retains-realmes-media-mandate-11690.htm">Havas Media Network India retains realme's media mandate</a>
 


Havas Media Network's Arena India bags the integrated media mandate for realme

AdGlobal360 (AGL), a MarTech company and a member of Hakuhodo International, has secured the mandate to manage Pan-India hyperlocal marketing for Bajaj Auto Ltd. Probiking. Within three months of the partnership, all KTM and Triumph dealerships across India have been onboarded onto AGL’s proprietary hyperlocal platform, Glocal360.

Glocal360 is being actively leveraged by Area Sales Managers (ASMs) and the broader dealer ecosystem. Among its most impactful tools are TrendVizor, which enables data-backed decision-making through in-depth campaign performance insights and GeoBiz Manager, which enhances dealer visibility by streamlining the management of Google Business Profiles.

Bajaj Motorcycles, the brand’s core commuter segment, is currently preparing for a pilot rollout on the platform, marking the next phase of this digital expansion.

Manik Nangia, President Probiking at Bajaj Auto Ltd., said, “At Bajaj Auto Ltd. Probiking, we are committed to accelerating digital transformation at the ground level, fuelling stronger brand presence, discoverability, and consumer engagement at every dealership touchpoint. We are excited to embark on this journey with AGL, whose deep expertise in hyperlocal marketing and customised tech stacks will help our dealer network deliver more relevant, timely, and impactful customer experiences.”

Rakesh Yadav, CEO of AdGlobal360, said, “With Glocal360, we're not just digitizing dealer networks, we're enabling them to respond to consumer intent in real-time. This mandate is a validation of our deep-rooted investments in scalable, made-for-India MarTech solutions that adapt to regional nuances while delivering national impact. As we extend this ecosystem to Bajaj Motorcycles, we’re confident in building a hyperlocal model that’s both agile and outcome-driven.”

Read More: <a href="https://www.storyboard18.com/agency-news/wpp-medias-essencemediacom-bags-nilkamals-media-mandate-70924.htm">WPP Media's EssenceMediacom bags Nilkamal's media mandate</a>

Bajaj Auto appoints AdGlobal360 to run pan-India hyperlocal marketing

The screen opens on a lone Rajasthani man. Soon, the frame widens to reveal others—men, women, children - all jostling in unison, as though part of a strange, synchronized ritual. A rickety bus barrels forward on a desert road, impossibly packed with passengers clinging to every inch of its structure - inside, outside, and atop. The question begs: How are they not falling off?

The answer is revealed, humorously and cleverly, on a small sign affixed to the rear of the vehicle: “Fevicol: The Ultimate Adhesive.”

When this advertisement debuted in 2002, few could have predicted its enduring legacy. Yet over two decades later, it remains etched in the collective memory of Indian viewers, celebrated for its storytelling, symbolism and cultural resonance. Behind the now-iconic film lies a story of creative conviction, logistical hurdles and a filmmaker’s inspired vision.

It began, modestly, with a print ad.

Renowned filmmaker Prasoon Pandey, founder of Corcoise Films, had come across a Fevicol print campaign that depicted a crowded local train with passengers hanging perilously off the sides. Yet, no one fell. A small Fevicol logo at the bottom explained the miracle.

“It was simple. Brilliant,” Pandey recalled in a later interview.

Soon after, Ogilvy & Mather approached him to create a television commercial inspired by the print concept. But Pandey hesitated. Simply translating the idea from print to screen, especially with the same train setting, felt creatively unfulfilling. It took him over a month to commit—only after he found a compelling cinematic alternative.

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Pandey drew unexpected inspiration from a 1958 Dutch short film titled Glass, directed by Bert Haanstra. The film, which juxtaposes traditional glassblowing with industrial manufacturing, sparked a thought: what if the ad focused on rhythm, motion and visual buildup?

The train became a bus. The chaos, more exaggerated. “I imagined a road so bad, even a goat would be shaken up,” Pandey said. The visual metaphor was simple: if Fevicol could hold together this chaotic ensemble, it could hold anything.

The commercial was shot over several days in the sand dunes near Jaisalmer. More than 200 local villagers were cast as passengers. But logistical challenges abounded.

“The winter sun travels left to right, so we had to change the bus’s direction every couple of hours,” Pandey explained. To simulate the rough ride, one-foot-deep ditches were dug across the road, but the initial effect was underwhelming. “It looked like a rabbit hopping,” he joked. Alternating the trenches left and right finally delivered the desired bounce.

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Then there was the goat. As the story goes, the animal—unimpressed by the film’s artistic ambitions—would urinate on the young boy seated beneath it every time the bus lurched. The crew, Pandey recalled, found it hilarious.

The soundtrack, minimal but evocative, was crafted in collaboration with percussionist Taufiq Qureshi and composer Loy Mendonsa. The goal was not music for music’s sake, but something that could carry the film’s visual rhythm and pacing.

At Cannes in 2002, the ad won a Silver Lion - the first Indian film to win at the prestigious festival in six years. It marked a turning point not just for Fevicol, but for Indian advertising itself.

Piyush Pandey (now Chief Advisor at Ogilvy) was closely involved in the campaign. His creative partnership with Madhukar Parekh, Chairman of Pidilite Industries (Fevicol’s parent company), has become one of the longest-running and most successful in Indian advertising. 'That’s the real Fevicol bond,' they often quip.

Over the years, “Fevicol ka jod” has become a part of the vernacular - a metaphor for relationships, alliances and unbreakable bonds. Even Prime Minister Narendra Modi referenced it during a 2014 visit to Japan, calling India-Japan ties “stronger than a Fevicol bond.”

Fevicol’s advertising strategy has always centered on people, culture and a touch of absurdity. From 1991’s “Dum Laga Ke Haisha” to more recent campaigns, the brand has resisted trendiness in favor of timeless humour rooted in Indian life.

“Some call it retro,” said Piyush Pandey. “I say, we’re not retro, you’re metro. That’s where India lives.”

The Fevicol bus ad was never just about glue. It was about the strength of storytelling and how humor, visual poetry and a touch of absurdity can turn a brand into something mythic.

As Piyush Pandey noted, “An iconic ad isn’t written. You just write the best thing you can. When people fall in love with it, it becomes iconic.”

<strong>Read More:</strong> <a href="https://www.storyboard18.com/advertising/how-fevicol-egg-advertisement-was-a-turning-point-in-the-brands-creative-journey-51815.htm">How Fevicol egg advertisement was a ‘turning point’ in the brand’s creative journey</a> 

When Fevicol ‘Bus’ ad stuck its way to a Silver Lion at Cannes Lions 2002

WPP, global communication company, and Vercel, a cloud application company, announced an expansion of their global strategic partnership to bring Vercel's pioneering AI technologies – v0 and AI SDK – to WPP teams and their clients.


This will bring the creativity and agility of vibe coding – a style of programming that uses natural language prompts to assist with the coding process – to WPP teams worldwide, accelerating digital experience design and enabling more people to create at the moment through simple text prompts and AI applications.


With Vercel's AI tools, creatives at WPP can now design, prototype, test and deploy digital experiences at speed. Users provide v0 – an AI-powered tool to help developers create digital elements – with a text-based description of a desired production-grade component, website or complete application. 


Vercel's AI models then analyse the description and generate the corresponding code, which can be refined, customised and seamlessly integrated into existing digital experience projects. This means that even teams without coding expertise can create online experiences and craft digital marketing campaigns with greater precision. Teams will also have access to AI SDK, an open-source library that provides developers with the tools they need to build AI-powered products and agents.


According to WPP’s internal pilots and a network-wide Vercel v0 hackathon held earlier this year, the use of Vercel technologies in experience design processes has the potential to increase the development efficiency of the production of apps and websites by up to 25 percent, liberating teams to focus on the truly creative aspects of the digital experience, including crafting compelling narratives, mapping intuitive user flows and creating standout visual designs.


The expanded partnership will also give WPP priority access to new Vercel product releases, an advisory role in Vercel’s future roadmap, and provide targeted joint investment into new product development, integrations and innovation within WPP Open, WPP’s AI-enabled marketing services platform.


Stephan Pretorius, chief technology officer, WPP, said, “At WPP, we're committed to providing our talent with the best tools and technologies available to unleash their creativity. The adoption of Vercel's AI-powered tools will dissolve the traditional boundaries between functions, enabling our teams to move from prompt to prototype at speed. This autonomy empowers our people to ideate, build, test and deploy groundbreaking digital experiences that champion creative craft and connect with consumers online, ultimately delivering superior results for our clients.”


Malte Ubl, CTO, Vercel, said, “Iteration velocity is essential to shipping the best digital experiences. AI SDK helps WPP engineers quickly build the next generation of agentic AI, and v0 is empowering WPP designers to bring their ideas to life in minutes instead of months. Build the feature, not just the spec. Create the UI, not just a concept. Develop an agent, make customers more efficient. This newfound speed will be transformational to how WPP clients engage with their consumers. We look forward to partnering with WPP to unlock new levels of agility for one of the most powerful creative engines on the planet: agencies.”


<strong>Read More:</strong> <a href="https://www.storyboard18.com/brand-makers/wpps-ai-tool-claims-60-lower-acquisition-costs-28-higher-revenue-in-pilot-campaigns-70380.htm">WPP’s AI tool claims 60% lower acquisition costs, 28% higher revenue in pilot campaigns</a>
 

WPP and Vercel expand partnership to accelerate AI-powered digital experience craft

Several major brands in India have initiated agency review processes, inviting pitches for creative and media mandates as part of strategic realignments.

PNB MetLife has called for an integrated pitch, seeking a single agency to handle both creative and media duties. Sources familiar with the development indicate the account is complex, involving multiple agencies. The pitch is currently underway, and the brand has yet to finalize the agency.

Meanwhile, the Association of Mutual Funds in India (AMFI) has initiated a creative agency pitch. A senior executive at the creative agency confirmed the development, stating, "AMFI have called for the creative pitch. Multiple agencies have participated. They are yet to finalize the creative agency on record." The incumbent agency handling AMFI’s creative duties is WPP-led VML.

In the automotive sector, BMW India has recently concluded its creative pitch process but has not yet announced the new agency on record. The company confirmed to Storyboard18 that the pitch is part of a broader strategic realignment following BMW’s record-breaking performance in 2024, when it achieved its highest-ever annual car sales in India.

Rediffusion, the current agency managing BMW India’s creative account, may be replaced depending on the outcome of the pitch. A senior executive from a participating agency noted, “It is a routine procedure for BMW to review agencies after a three-year period. They are yet to announce the agency on record.”

In 2022, BMW appointed Rediffusion to work on its brand strategy, creative, digital and dealer support communication. The business is being handled by Rediffusion Delhi. In the same year, Lodestar UM won and retained BMW India's integrated media duties following a multi-agency pitch. 

The agency is responsible for all of BMW India's media activities, including mainline, digital, out-of-home, events, and special projects. The agency's Gurugram office is handling the account, at present.

AMFI and PNB MetLife search for new creative partners; BMW wraps up pitch

At the 72nd edition of the Cannes Lions International Festival of Creativity, one of the campaigns that garnered critical appreciation from the jury members was ‘Lucky Yatra’. Conceptualised by FCB Group India for the Central Railway, ‘Lucky Yatra’ was honoured with one Grand Prix, six Gold, one Silver and one Bronze Lions at the global stage. 

The initiative aimed to reduce rampant ticketless travel by transforming ticket purchase into a lottery-like incentive. 

From March 20 to June 15, the eight-week long Lucky Yatra Yojana offered daily and weekly cash prizes—₹10,000 and ₹50,000 respectively—to commuters traveling with a valid ticket. Commuters had to register by uploading a photo of their rail ticket and verifying via an OTP (one-time password) on the now‑defunct luckyyatra.com website. 

But, only three passengers came forward to claim the prize during this eight-week run.

Despite out-of-home (OOH) ads at stations and platforms, on-train visuals and station announcements, and partnership with Radio Mirchi to amplify the ‘Lucky Yatra’ initiative, commuter associations alleged that the commuters weren’t aware of such an initiative which led to its limited uptake, stated a media report.

Despite the programme’s shutdown, discussions are ongoing to decide whether to revive Lucky Yatra in future depending on the situation, further added the report. 


<strong>Read More:</strong> <a href="https://www.storyboard18.com/advertising/cannes-lions-2025-india-bags-a-silver-lion-on-day-5-bbdo-india-honoured-for-ariel-sharetheload-71284.htm">Cannes Lions 2025: India bags a Silver Lion on Day 5; BBDO India honoured for Ariel #ShareTheLoad</a> 

Cannes Lions Grand Prix winner 'Lucky Yatra' fails to deliver for Indian Railways

On Day 5 of the 72nd edition of the Cannes Lions International Festival of Creativity, India’s total medal tally had reached 32—surpassing its previous counts of 18 in 2024 and 25 in 2023.

In total, India won one Grand Prix, nine Gold, nine Silver and 13 Bronze Lions.

On Day 5, results were announced across categories: Glass: The Lion for Change, Film, Titanium and Sustainable Development Goals.

In the Sustainable Development Goals category, BBDO India bagged a Silver Lion for its decade long award winning campaign Ariel #ShareTheLoad for Procter & Gamble.

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The campaign touched upon the concept of gender role inequality, specifically with laundry. Every ad, through its powerful concept, served as a reminder to the audience to equally participate in 'Sharing The Load'.

However, there were no wins registered by India in the remaining categories.

<strong>DAY 4</strong>

In the Brand Experience & Activation category, Publicis Groupe’s Leo, Mumbai was felicitated with a Bronze Lion for ‘Acko Tailor Test’ for the brand Acko, after having walked away with a Gold Lion on Day 2.


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FCB India continued to create ripple effects with its ‘Lucky Yatra’ campaign for the Indian Railways by securing three Gold Lions, not only in the Brand Experience & Activation category but also in both the Creative Business Transformation and Creative Commerce categories. This brings FCB India's total count for 'Lucky Yatra' to nine: One Grand Prix, six Gold, one Silver & one Bronze.


<strong>Read More:</strong> <a href="https://www.storyboard18.com/advertising/cannes-lions-2025-india-clinches-5-lions-on-day-4-fcb-indias-lucky-yatra-secures-3-golds-71117.htm">Cannes Lions 2025: India clinches 5 Lions on Day 4; FCB India's 'Lucky Yatra' secures 3 Golds</a> 


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Ogilvy India’s ‘Eye Test Menu’ for Titan Company impressed the Cannes Lions juries with its introspective concept. The campaign consecutively won a Bronze Lion on Day 2, Day 3, and on Day 4.


<strong>DAY 3</strong>


In the Creative Data category, Publicis Groupe's Leo, Mumbai bagged a Gold Lion for 'Acko Tailor Test' for the brand Acko. 


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Havas, Mumbai garnered appreciation with a Bronze Lion for ‘Ink of Democracy’ for Times of India in the Direct category, after having secured a Gold in the Print & Publishing category on Day 1.


‘Lucky Yatra’ has indeed brought luck and cheer for FCB India, as they won their second Gold for their innovative thought process conceptualized for the Indian Railways. 


<strong>Read More:</strong> <a href="https://www.storyboard18.com/advertising/cannes-lions-2025-india-roars-with-14-lions-on-day-3-fcb-indias-lucky-yatra-grabs-a-grand-prix-70954.htm">Cannes Lions 2025: India roars with 14 Lions on Day 3; FCB India's 'Lucky Yatra' grabs a Grand Prix</a>


In the Media category, ‘Eye Test Menu’ for The Titan Company by Ogilvy, Bangalore received a Bronze Lion. And, Havas, Mumbai once again received its second Bronze Lion for 'Ink of Democracy'.


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Publicis Groupe’s Leo was felicitated with a Silver Lion for its campaign ‘Takeoff Takeover’ for Cathay Pacific. And, Dentsu Creative Gurgaon was recognised with a Bronze Lion for its campaign ‘Garuda Rakshak’. 


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Indie agency Talented, Bangalore once again stood tall and proud with a Bronze Lion for ‘Nature Shapes Britannia’ for Britannia Industries.


Continuing its 'Lucky Yatra', in the category of PR, FCB India earned a Silver metal. And, they also won the coveted Grand Prix and another Gold Lion on Day 3.


Ogilvy, Mumbai won a Bronze Lion for ‘Box to Beds’ for Amazon.


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In the social & creator category, BBH India, Mumbai was awarded the Bronze Lion for 'Bassi v/s Men’s Facewash' for Garnier. And, Ogilvy, Mumbai, this time won a Gold Lion for Mondelez’s ‘Erase Valentine’s Day’.


<strong>Day 2</strong>


Among the highlights, Ogilvy Bangalore earned a Bronze Lion in the Design category for “Eye Test Menu,” created for The Titan Company. 

<strong>Read More:</strong> <a href="https://www.storyboard18.com/advertising/modest-gains-for-india-at-cannes-ogilvy-vml-talented-bag-3-lions-for-titan-coca-cola-britannia-work-70719.htm">Modest gains for India at Cannes; Ogilvy, VML & Talented bag 3 Lions for Titan, Coca-Cola, Britannia work</a>


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In the Entertainment segments, VML Mumbai took home a Silver Lion for Coca-Cola’s “The Girl Who Played The Tutari,” while Talented, Bangalore won Silver in the Sport category for “Avani’s Gold” on behalf of Britannia Marie Gold.


<strong>DAY 1</strong>


Day 1 opened on a vibrant note for India as they registered nine wins.


In the Outdoor category, five campaigns emerged victorious. FCB India earned a Bronze and a Gold for its campaign Lucky Yatra developed for Indian Railways. Ogilvy Mumbai secured Bronze Lions for Brooke Bond Taj Mahal Tea’s Chai Bansuri, created for Unilever, and Vi Guardian Beads for Vodafone Idea.


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Two Silver Lions were awarded to Talented, Bangalore, for Nature Shapes Britannia campaign for Britannia Industries, and to FCB Kinnect for Too Yumm to Cheer!, campaign for Too Yumm!


In the Print & Publishing category, Ink of Democracy for the Times of India by Havas, Mumbai was applauded with a Gold Lion.


In the Health & Wellness segment, Naga Saint Eye, developed by Godrej Creative Lab for the Eyebetes Foundation, received a Silver Lion. The Pharma category saw Lowe Lintas, Mumbai, take home a Silver for Dawai Reader, a campaign for Alkem Laboratories.


This year, India sent 982 entries to the festival—up from 826 in 2024—across a range of categories. The country secured 22 shortlists across four categories — Outdoor, Health & Wellness, Pharma, and Print & Publishing. 


Indian work was shortlisted once in Industry Craft, five times in Design, four in Film Craft, two in Entertainment Lions for Gaming, and three each in the Music and Sport subcategories under Entertainment.


In Creative Business Transformation, Creative Effectiveness and Creative Commerce, India had registered three, and two shortlists each respectively. 

<strong>Read More:</strong> <a href="https://www.storyboard18.com/advertising/cannes-lions-2025-india-wins-7-silver-ogilvy-talented-fcb-among-winners-70524.htm">Cannes Lions 2025: India wins 2 Gold, 7 Silver & Bronze Lions; Ogilvy, Havas, Talented, FCB among winners</a>

Cannes Lions 2025: India bags a Silver Lion on Day 5; BBDO India honoured for Ariel #ShareTheLoad

On Day 4 at the 72nd edition of the Cannes Lions International Festival of Creativity, India added five more awards to its kitty—bringing its cumulative count to 31.


Results were announced across categories: Brand Experience & Activation, Creative Business Transformation, Creative Commerce, and Creative Effectiveness.


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In the Brand Experience & Activation category, Publicis Groupe’s Leo, Mumbai—that had bagged a Gold Lion on Day 2 for ‘Acko Tailor Test’ for the brand Acko—won a Bronze Lion. 


The heart is the most ‘hurt’ organ of the human body, which is subjected to conflicting emotions on a daily basis. Acko partnered with the tailors of the country to ensure that their customers’ took good care of their heart. As per World Health Organisation (WHO), if the measurement derived from the division of waist size by the hip size exceeded beyond a set limit, it signaled time for checkup, and tailors would gently nudge their customers to do so.


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FCB India achieved a remarkable hat-trick by winning Gold Lions for its 'Lucky Yatra' campaign for Indian Railways, not only in the Brand Experience & Activation category but also in both the Creative Business Transformation and Creative Commerce categories.


This brings FCB India's total count for 'Lucky Yatra' to nine metals: One Grand Prix, six Gold, one Silver & one Bronze.


<strong>Read More:</strong> <a href="https://www.storyboard18.com/advertising/modest-gains-for-india-at-cannes-ogilvy-vml-talented-bag-3-lions-for-titan-coca-cola-britannia-work-70719.htm">Modest gains for India at Cannes; Ogilvy, VML & Talented bag 3 Lions for Titan, Coca-Cola, Britannia work</a> 



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Ogilvy India’s ‘Eye Test Menu’ for Titan Company continues to impress the Cannes Lions jury with its introspective concept. The campaign consecutively won a Bronze Lion on Day 2, Day 3, and on Day 4. 


<strong>Read More:</strong> Cannes Lions 2025: <a href="https://www.storyboard18.com/advertising/cannes-lions-2025-india-wins-7-silver-ogilvy-talented-fcb-among-winners-70524.htm">India wins 2 Gold, 7 Silver & Bronze Lions; Ogilvy, Havas, Talented, FCB among winners</a>


Truck drivers, who don’t have a fixed timeline, have low income and are constantly on the go, like many others, largely ignore their eye health. With ‘dhabas’ being their pit stop, ‘Eye test Menus’ (alphabets replaced with food menus) were rolled out to order food and also test their vision. If detected with vision issues, an optometrist would conduct free-eye exams thus ensuring the good health of their eyes.


The country sent 982 entries to the festival this year—up from 826 in 2024—across a range of categories. Indian work was shortlisted twice in Creative Effectiveness and Creative Commerce, and thrice in Creative Business Transformation.  


<strong>Read More:</strong> <a href="https://www.storyboard18.com/advertising/cannes-lions-2025-india-roars-with-14-lions-on-day-3-fcb-indias-lucky-yatra-grabs-a-grand-prix-70954.htm">Cannes Lions 2025: India roars with 14 Lions on Day 3; FCB India's 'Lucky Yatra' grabs a Grand Prix</a> 

Cannes Lions 2025: India clinches 5 Lions on Day 4; FCB India's 'Lucky Yatra' secures 3 Golds

WPP Media has secured the complete media mandate for Nilkamal Limited, with EssenceMediacom leading the charge across both digital and offline channels. The mandate covers media planning and buying, digital strategy, and execution. 

 
Nilkamal will benefit from the cutting-edge martech capabilities including AI-driven segmentation and programmatic buying, while experimenting with innovative content formats such as interactive storytelling and immersive experiences, stated the company in its statement.

 
Navin Khemka, chief executive officer, South Asia, EssenceMediacom said, “We look forward to welcome Nilkamal to our growing portfolio of future focussed brands. This partnership gives us the opportunity to blend strategy with creativity and data to deliver impact across the funnel. With a focus on innovation and audience intelligence, we aim to build a bold and future-ready narrative for Nilkamal that drives lasting impact and value.” 

 
Parekh, managing director, Nilkamal Limited, added, “We are glad to partner with WPP Media’s EssenceMediacom in this new chapter of our growth journey. The agency’s proven expertise in crafting innovative, data-led strategies aligns perfectly with our vision for accelerated growth. We look forward to crafting engaging, insight-led campaigns that elevate our brand presence and drive long-term value.”


<strong>Read More:</strong> <a href="https://www.storyboard18.com/advertising/essencemediacom-bags-the-media-mandate-for-godrej-consumer-products-in-india-56828.htm">Essencemediacom bags the media mandate for Godrej Consumer Products in India</a>
  


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