As pride, identity and profiling increasingly come into play at the global level, questions will follow: Have we been able to define where Indian advertising is coming from and what really reflects our work, mindset & vision, effectively? Monojit Lahiri, donning his ad-man’s hat, investigates…

Indian advertising is evolving in a rapidly changing global landscape, where consumer behavior is increasingly shaped by both Western influences and Indian culture. With the rise of globalization, consumerism, and the working woman demographic, Indian ads are navigating a complex terrain of tradition and modernity. The use of Hinglish, Indian values, and cultural symbols is often debated in advertising circles, with some arguing that many ads reflect a superficial or tokenistic portrayal of Indian identity. However, others believe that effective advertising can connect deeply with Indian consumers by understanding their unique blend of Eastern and Western influences.

Indian Advertising: A Reflection of Hybrid Consumerism

When you talk of Indian cinema to purists, the names and work of Ray, Sen, Ghatak, Benegal, Nihalani, Adoor and a host of class acts from regional cinema zoom into focus. In recent times, Payal Kapadia, Kiran Rao and gang have also come to party with all cylinder’s firing.  Similar models are identified when talking of books, music, dance, etc. However, Indian advertising presents confusion! Is it stuff where the look and feel of the communication is desi? Is it about Hinglish that seems to be the new lingo of tons of our ads across the last three decades? Is food, clothes, body language and ambience defining points of advertising that portray Bharat – not India – as the essence of Indian advertising or is it the churn, the ephemeral quality of life in this new India that best symbolizes this point?

Senior Writer of Kolkata-based Magnum Intergraphics, Mitali Lahiri, is first off, the block. “There is no one definition of Indian advertising simply because Indian advertising is as Indian – or non-Indian – as the Indian consumer,” Mitali goes on to explain that the Indian consumer of today is a highly hybrid creature, embracing both, East and West. Globalisation and rampant, infectious consumerism have affected a paradigm shift in overall mindset and consumption patterns. Further, the phenomenon of the ‘working woman’ and technology has put into motion a whole new lifestyle where speed with quality is the new mantra. In the FMCG universe, as also a host of other categories, this rules. Sure, these are not totally Indian (clothes, fashion, accessories, food, communication gadgets) influences – but who cares? “However, values are a trickier issue, with morality and levels of acceptable permissiveness in this changing space, constantly under threat. Advertising reflects all of this, sometimes taking sides to push its agenda of influencing a sale.” At the end of the day, Mitali believes, “we ourselves have become products of the times we live in, navigated or manipulated by the persuasion industry.”  

Contradictions and Identity Crisis in Indian Advertising

Social Commentator Santosh Desai is brief and incisive as ever. “It has to do with understanding the sub-text, nuances and layers that powers a deep and serious connect with your consumer in a language and imagery that is spontaneous, not contrived,” he tells. Desai believes that there’s a lot of stuff masquerading as Indian advertising, which is really nothing but “global hand-me-downs in their format with Hinglish inserted for desired effect. This is lazy, short-cut advertising, even politically correct but way off-line regarding target-connect.” However, he freely admits that there is a fair body of work that represents fine examples of this genre. 

“Spewing venom and fire, and totally slinging every single favorable comment is hi-profile, internationally reputed”, says Delhi-based Painter Jatin Das. “We live in a world where mimics and fakes, shamelessly imitating everything the West does, dominate the public space! Every single (cherished, rich) art form has been hi-jacked by western values, which are perceived to be modern and superior. Few kids care to know their mother tongue, long hair is considered Behenji and Fair & Lovely syndrome (they should be put behind bars for their insulting and regressive mindset!) booms across metros, big and small. The new toys of engagement are iPads and iPhones. In such a pathetic environment, why should ads ever reflect anything else? Indian advertising is a phirang, sexy model dressed up in rich, traditional, Indian bridal, finery – the most alarming form of tokenism.”

Respected and revered photographer Raghu Rai begs to differ. “Piyush Pandey’s path-breaking Fevicol Bus ad was a masterpiece and was may only one of the many wonderful samples of true Indian advertising. Indian roots embracing a charming, universal vision. As for Hinglish, isn’t that the lingua franca of today’s youth? Good communication is about understanding and re-defining the buzz on-the-street in an interesting, customer-friendly way,” says Rai. His only grouse is about using phirang models as he questions “Chal yaar, our women are so gorgeous. Why those white-skinned females?”  

My personal take? Life in general and certainly in today’s times is indeed ephemeral in the space we reside…why should advertising be any different? Whether it preempts, reflects or follows the times is another debate but good, effective and honest advertising will always seek to capture the soul before it conquers the body… and this it can only do when recognizing, understanding and connecting with the critical area of human insights. India is changing. The consumer is changing. The environment and marketspace – complex and riddled with contradictions – are changing. Why should Indian advertising be any different…? More power to its blazing journey, future wards…