Hall of Fame

As we enter a new year, it is time to reflect on the ads that truly made an impact around us. Advertising is often viewed as merely a tool to sell products, but it does so much more than that. The best advertisements can ignite social and political conversations, challenge our perceptions, and even entertain us. These pieces act as a mirror to society, shedding light on important issues, questioning norms, and making us think in new ways. Last year, the advertising landscape was filled with fresh ideas and innovative approaches. We witnessed a rise in AI-driven campaigns, where technology played a pivotal role in shaping creativity and message delivery. At the same time, memevertising gained momentum, with brands jumping on internet trends and using humour to connect with audiences in a way that felt both authentic and relatable. This blend of cutting-edge tech and deeper cultural connection made 2024 an exciting year for the industry. However, despite all the technological advancements and evolving trends, one thing remains constant: the power of a great idea. No matter how innovative the execution is, the most memorable advertisements are those that communicate a meaningful message and capture our attention. Whether through a powerful story, a social cause, or simply a well-timed laugh, the best campaigns stand out because they evoke emotion. 2024’s standout campaigns did more than just sell products—they sparked conversations and inspired change. Some brands and their partner agencies used their platform to raise awareness about important issues, pushing for positive impact and change. Others provided moments of humour and surprise when we least expected it. In this special edition, we are not just focusing on the ads that generated the most buzz or sales. We are celebrating the creativity, boldness, and thoughtfulness behind the campaigns that left a lasting impression on us. These are the ads that made us stop, think, and talk. They reminded us that advertising is not just about selling—it is about connecting, entertaining, and sometimes even changing the way we see the world. As we look back at the top 10 ads of 2024, we are honouring those that truly stood out and made the year unforgettable.

We are creating a ‘Chota Universe’ alongside Urban Company; ‘Chhoti Soch’ being the second instalment in this three-film series. The goal of this series was to promote the dignity of labour and cut down the respect gap between blue- and white-collar workers. While our foundation was already laid out with the first film, we wanted to take the route of intersectionality this time. And then, we decided to look at the biases and judgements that are hurled upon Urban Company women professionals.

Once the idea was clear, we sat alongside strategist Sai Karthik, and our creative process began with bias-banking interviews— almost like a deep dive into the everyday realities of these women professionals. One striking insight came from Urban Company masseuses, who shared that their work was often unfairly associated with sex work. This stigma led to inappropriate expectations and a lack of respect for their profession, even though touch-based wellness, like Ayurveda, has deep roots in India.

To address this, we worked with gender experts, like Dr Papori Bora and Dr Garvi Dhar, to explore how biases often begin at home, influenced by societal attitudes. This insight became the backbone of the story. The narrative is brought to life through a younger brother and his journey of understanding. At first, he’s a sweet, innocent kid. But then he hears society’s whispers— the taunts and jokes about his sister’s profession— and he brings those prejudices home. The pivotal scene, where he bluntly asks his sister if she gives “happy endings,” hits like a punch to the gut. Her reaction— a mix of fear and heartbreak— captures so much. It’s the moment she realises her little brother has grown up and absorbed the world’s ugliness. That one scene speaks volumes about how biases start, often in our own homes.

We also wanted to highlight the need for male allyship in breaking gender biases. The film is striking and Kopal Naithani’s direction deserves special mention. She has this ability to draw out performances that feel so real, they leave a mark on everyone, even the crew. One team member was moved to tears during filming, despite knowing the script inside out. That’s the magic of Kopal’s storytelling. And we had that creative liberty to make a striking long film together.

While many brands push for shorter, snappier ads, Urban Company allowed this four-minute film to breathe. No pressure to cut it down for views or KPIs. Instead, the focus was on getting the message right— and it paid off. Urban Company’s belief in the power of good storytelling is what makes them a standout client. In just two weeks, the film racked up over 20 million organic views and an 1800% jump in social media engagement.

But the real win? The responses from Urban Company’s own masseuses. They left comments saying, “This is my life,” and shared how proud they were to show the film to their families. That kind of connection is priceless. At its core, ‘Choti Soch’ is more than an ad. It’s a reminder that real change starts with conversations— at home, in our communities, and in how we see the people around us.

Ads that I loved in 2024

• Har Koi Peera Lahori Zeera
• Chinese, Par Apne Style Se for Wok Tok
• I absolutely love the absurdist world-building work by Ashish Khazanchi of Enormous

About Leena Gupta
I am a creative and founding member at Talented, a three-year-old indie creative shop from India. Over the last five years, I’ve led charters for global brands like Google, YouTube, Bumble, and Amazon Prime, along with homegrown giants like Swiggy, Britannia, Tanishq, Goibibo, Urban Company and Flipkart.

Best campaigns

• ‘Why is this a Swiggy Ad?’
• Dignity of Labour series for Urban Company
• ‘Yeh Kisne Dhoonda?’ for Google India
• IGP’s ‘Amazing Gifts, Samay Par’
• ‘Fathers, Written By Daughters’ for Tanishq

When Colgate came to us with the insight that eight out of ten Indians suffer from cavities, it felt personal. This wasn’t just a statistic—it was a reflection of a shared behaviour. Constant snacking, whether it’s chips, gum, or peanuts, depletes calcium from our teeth, leaving them weaker over time. This realisation, drawn from our own habits, became the foundation for ‘The Daily Grind’ campaign.

We created a narrative that holds up a mirror to everyday life without sounding preachy. We chose a father-son relationship to anchor the story. Through the son’s eyes, we see the dad’s constant munching— at home, in the office, and even on a train. This everyday behaviour becomes a playful yet meaningful way to highlight the importance of oral health.

Working with Amit Sharma was a transformative experience—like witnessing a magician’s craft unfold, but this time from backstage, understanding the intricate details that bring the magic to life. This was my first time collaborating directly with him, and it was nothing short of inspiring. Sidhant Mago, too, brought a fresh, contemporary vibe to the project. His input added a Bollywood-esque yet commercially relevant touch, blending creativity and strategy. Together, we found the perfect balance—a catchy, relatable narrative that resonated across mediums, even as a standalone radio spot.

The now-iconic song ‘Datte Ghaj Ghaj’ gave the campaign its memorable, playful tone, ensuring the message stuck with audiences. We created distinct versions of the campaign to resonate with urban and rural audiences. While the urban film featured pizzas and burrata, the rural version leaned on samosas and jalebis. Despite these differences, the melody and core message tied everything together, making it relatable across demographics.

And oh, we had fun on sets! One particularly memorable moment happened during the train sequence. The father is shown eating bhajiyas offered by a stranger, and while shooting, space in the compartment was extremely tight. Our agency producer, Divyang, was growing increasingly anxious, running back and forth to ensure things were on track. At one point, the director, Amit, grabbed Divyang, sat him next to the actor, handed him a handful of chanas, and yelled, “Roll camera!” Without a clue, Divyang started eating, and the shot made it to the final cut. Seeing our producer debut in the campaign was both hilarious and memorable— it perfectly captured the spontaneity that made this project so special.

The overall response has been overwhelmingly positive. Audiences and the creative community alike have celebrated the campaign. And all this couldn’t have been done without the constant support of my seniors— Kainaz Karmakar and Harshad Rajadhyaksha. Ultimately, this project proves that even in a category as mundane as toothpaste, creativity and cultural insight can make a real impact. With its playful tone, relatable storytelling, and moments of behind-the-scenes serendipity, ‘The Daily Grind’ is a testament to how meaningful advertising can emerge from everyday truths.

Ads that I loved in 2024

• Ashish Khazanchi and Abhinav Pratiman’s work on Lahori Zeera

About Juneston Mathana
Juneston, as a name only exists on documents that need KYC updation. Near and dear ones call and know me as ‘June’. I’ve been around the industry for over 19 years now and I don’t see myself moving out of this madness anytime soon. I’ve had the privilege of working on sought-after brands like Colgate, Gillette, Pantene, Raymond, Cipla, Indian Oil, Nestle and Sri Lankan Airlines from a stint in Colombo. It’s been a fantastic run at Ogilvy India where I currently spearhead all the category-defining work on Colgate.

Best campaigns

• Colgate – The Sweet Truth
• Colgate Maxfresh - Doctor Sleep x CID
• Colgate Strong Teeth - The Daily Grind
• Gillette Barbershop Girls of India
• Gillette Man Enough

'The Empty Nest’ was a very unique campaign because there wasn’t a brief to begin with. Flywire, a global payment gateway brand, wanted to enter the Indian market, but instead of starting small, we saw an opportunity to occupy a meaningful emotional space. We identified a void— separation anxiety— something every Indian family feels when children leave home, whether for studies or work. It’s a universal experience, but no one talks about it.

Everyone celebrates the milestones— ‘My son’s going abroad,’ or ‘My daughter got into this prestigious college’. But beneath that, there’s this unspoken layer of vulnerability on both sides. We presented this as more than a film; it was a platform to explore the bittersweet realities of Empty Nest Syndrome. Parents, while deeply emotional, often hide their fears to keep their children from second-guessing their choices. Kids, on the other hand, are navigating their own anxieties. This dynamic felt so raw, so real, and yet it had not been touched upon in Indian advertising. I drew inspiration from my own life as well.

I have a three-year-old son, and many of the dialogues came from imagining how I would talk to him in ten years. Our team brought their own stories and we used different bits from them. It was a deeply collaborative effort, which made the script so authentic. For the film, we chose to focus on a progressive father-daughter relationship. Traditionally, in Indian ads, it’s the mother and daughter who share secrets and life lessons. But we wanted to show something different— a father who’s approachable, casual, and supportive.

Even when the subject is sensitive or uncomfortable, this father is a friend first. Casting Varun Badola as the father was a dream come true. While writing, we imagined him in the role, and he brought our vision to life. As a writer himself, he added so much nuance. For example, he initially questioned whether a father could talk about something as modern as a ‘situationship.’ But when we explained the intent, he embraced it and it landed beautifully, with audiences smiling and relating to it.

The campaign’s success wasn’t just about numbers, though it did garner over 40 million views and a flood of comments. What really stood out were the personal stories people shared— about their families, about conversations they wished they’d had with their parents. It felt like we’d started a cultural dialogue. Ultimately, this wasn’t about selling a product; it was about building trust and love for the brand.

Flywire’s goal was to make a deeper connection, so the next time someone sees their payment option, they associate it with a brand that understands them. And we couldn’t have done this without incredibly invested clients like Ruhi and Lorraine, who supported our vision wholeheartedly. For me, this campaign is a reminder of why we do what we do— to tell stories that resonate, to push boundaries, and, sometimes, to inspire real change in how people connect.

Ads that I loved in 2024

• Aalap Desai’s Harpic Loocator

About Yash Kulshrestha
With 14+ years of experience in advertising, I’ve cultivated my expertise at leading agencies like Dentsu Webchutney, Cheil, and BC WebWise. My work has been recognised with prestigious awards, including Cannes Lions, Spikes Asia, and Goafest Abbys. Beyond my professional career, I contribute to the industry as an adjunct professor at Miami Ad School.

Best campaigns

• Welspun - Equalstock
• Reliance General Insurance - The All-Rounder Insurance
• Flywire - Empty Nest
• Welspun Living - AkshayVerse
• Reliance General Insurance - The EmerJersey

The brief from Canva was very straightforward: India already loves Canva, so this wasn’t about introducing the platform— it was about celebrating how deeply it’s woven into people’s lives. The campaign had to highlight Canva’s simplicity and its ability to help users create something truly special. From this idea came the insight, ‘When you care, you Canva,’ which evolved into the campaign tagline, ‘Dil Se Design Tak’.

It perfectly captures how Canva translates heartfelt moments into impactful designs, connecting emotions and creativity. We chose a farewell as the campaign’s central narrative because it felt both relatable and unexpected. Weddings or parties are obvious choices, but a farewell allowed us to explore nuanced emotions and show Canva’s versatility. The story of Gaurav’s farewell isn’t just about creating a presentation, it’s about celebrating friendships and making someone feel special in a way only Canva can enable.

Gaurav represents the quintessential ‘good guy’ we’ve all encountered— warm, selfless, and earnest. While writing and shaping his character, we drew from real-life experiences, making the film authentic and emotionally resonant. The collaboration on this project was extraordinary. Working with Ashish Shakya and Vishwesh Krishnamoorthy fetched us unique perspectives. OML’s deep ties to the artist community allowed us to tap into exceptional talent.

Furthermore, the client’s unwavering commitment to creative storytelling gave us the freedom to do justice to the narrative. The final film, clocking in at six minutes, doesn’t feel long because every second contributes to the story’s emotional depth. What truly validated our efforts were the responses. People didn’t just watch the ad; they sought it out. Comments ranged from praise for the casting and music to calls for a sequel.

It’s incredibly rewarding as a creative to hear viewers say, ‘I didn’t skip this ad.’ That’s the magic of a good story— it connects. Beyond the narrative, the campaign achieved its business goals too, driving user growth and reinforcing Canva’s adaptability to India with localised templates and payment options. The music deserves a special mention. Vishwesh and his team created a soundtrack that evoked friendship and nostalgia without being bound by genre norms. It captured the essence of the narrative beautifully.

Even on set, the energy was fantastic. It was full of laughter, shared meals, and small moments like the director’s playful naming of light cues or ongoing debates about the AC temperature. These little things made the project memorable. Ultimately, ‘Dil Se Design Tak’ campaign has been a success, not just for its creativity but for its cultural resonance. It’s a testament to what happens when everyone— clients, creatives, and collaborators— comes together to prioritise the story above all else. The campaign doesn’t just showcase Canva as a tool; it celebrates the emotion and thought behind every design, proving that when you care, you truly Canva.

Ads that I loved in 2024

• I loved Wok Tok Noodles campaign - Chinese Par Apne Style Se by Ashish Khazanchi and the Enormous team as well as Boldcare (Ranveer x Johnny Sins) by Devaiah, Tanmay and team

About Manav Parekh
I’m Manav Parekh, SVP & Executive Creative Director at OML, with past experience at Leo Burnett, VICE, and Hotstar. My work has earned awards like Spikes Asia and Effies, reflecting my passion for impactful storytelling and creative excellence.

Best campaigns

• Dil Se Design Tak (The Cafe) - Canva
• Great Rum, Greater Purpose - Santa Teresa 1796 Rum (US Launch)
• Goibibro Birthday Sale - Goibibo

Creating this star-studded campaign was a memorable experience. While the dates for sports stars were pre-planned, we had to make a few concessions to accommodate the schedules of Bollywood stars. But overall, the coordination was easy and manageable. Outdoor shoots during peak monsoon added another layer of complexity, but thanks to Nitesh Tiwari’s exceptional rapport with the talent—many of them he had recently collaborated with on the Dream 11 campaign—everything fell together.

We knew this initiative would work well as its timing aligned with India’s recent T20 victory. On top of that, we drew on the athletes’ standout traits to connect with fans. For instance, Bumrah’s phenomenal bowling, Surya Kumar’s electrifying presence, and even Ravi Shastri’s larger-than-life persona. Staying true to their authentic personalities was key.

A standout moment for me was discovering Sunil Chhetri’s effortless screen presence. He was incredibly natural and charismatic, bringing a surprising amount of humour and energy to his scenes. Bhaichung Bhutia, though less comfortable on camera, was upfront about his preferences, requesting fewer lines, which we accommodated. His candidness added sincerity to his performance. Moments like Chhetri’s off-camera badminton session with PV Sindhu brought a unique charm to the shoot. Watching Chhetri hold his own in a 30 minute badminton session with PV Sindhu where he was supposed to lose to her, was a highlight, blending athleticism with camaraderie.
Football in India has a devoted fan base, particularly in regions like West Bengal and the southern states, but it has never reached the mainstream popularity of cricket or Bollywood. This campaign aimed to bridge that gap by uniting cricket, Bollywood, and football to elevate football’s status as a national phenomenon. We wanted to spotlight its entertainment value and nudge more people to embrace the sport beyond its traditional strongholds.

The campaign was heavily focused on television, with significant investments in platforms like Jio. Social media played a crucial supporting role, with over a million views across YouTube and Instagram. Fans responded enthusiastically to it, calling it a breath of fresh air compared to ISL’s traditional anthem-based montages. By crafting individual moments, we allowed viewers to connect personally with their favourite stars.

The collaboration with Reliance, spearheaded by Shagun Seda, was another key to the campaign’s success. Shagun’s clear vision to break away from conventional formats encouraged innovation. And the feedback has been overwhelmingly positive, with viewers appreciating the fresh, dynamic approach.

Ads that I loved in 2024

• Mahindra for planet Zaheerabad

Creative person’s work I liked from 2024

• Karunasagar Sridharan

About Shyam Nair
With 12 years of experience in advertising, I’ve honed my craft at leading agencies like JWT, Lowe Lintas, and 22 Feet Tribal DDB. My work has been recognised globally and regionally, earning accolades such as a Cannes Glass Lion, One Show Asia Gold, Spikes Gold, LIA Silver, Drum Awards Grand Prix, and multiple Effie Silvers.

Best campaigns

• Cherrapunji ki Diwali - Netflix
• Playback - Netflix
• Words of Pride - DisneyStar
• Play This - Spotify
• Love is in the AI – Netflix

The idea for this campaign emerged in collaboration with my creative partner, Siddhesh Khatavkar. Together, we worked on Stayfree’s ongoing mission to normalise conversations about periods, particularly by engaging men in the dialogue. In India, it’s customary to send boys on errands to pick up household items like curd or sugar. We realised that encouraging parents to include sanitary pads on that list could subtly and effectively start conversations about menstruation.

Reflecting on my own upbringing, and observing the boys around me, this cultural practice seemed like a natural entry point. It’s such a simple act, yet it carries the potential to create a significant impact, helping to normalise what has often been considered taboo. In India, menstruation is a topic that isn’t openly discussed in many households, irrespective of geography or background. That’s the mindset we aim to change with Stayfree.

Of course, with work like this, there’s always apprehension about how the audience might react. To ensure the campaign struck the right chord, we meticulously wrote and revised drafts of the script with inputs from Rahul and the rest of the team. The process was thorough, but our collective commitment to the message kept us moving forward.

Surprisingly, the journey from ideation to execution was smooth, thanks to our supportive clients who immediately recognised the power of the idea. There was no need for extensive convincing— they trusted the vision from the start. It was a truly collaborative effort, involving passionate contributions from everyone, including our director, Gaurav, and the team overseeing every detail— from music to casting.

A particularly heartwarming moment was when Sidhu’s (my partner) daughter’s school used the ad during their period education sessions. They showed it to the boys to help demystify menstruation. Moments like this are rare in advertising, where your work directly influences cultural change. This campaign also highlights the challenges we face as a society. For instance, during casting, some mothers expressed discomfort about their sons participating in an ad like this, which underscores how entrenched these taboos are.

To address this, Stayfree incorporates training sessions during every ad shoot to sensitise men to pads and periods. It’s part of walking the talk. We have come a long way from the days of blue liquid demonstrations and functional benefits. While progress is evident, there’s still work to be done. With more time and continued campaigns, we hope to create a world where menstruation is no longer shrouded in silence.

Ads that I loved in 2024

• Veeba Wok Tok Instant Noodles Ad – Enormous Brands
• Clinic Plus Beti Bannke Aana - Ogilvy

About Harshada Menon
I’m an Executive Creative Director at DDB Mudra India. I started my career at FCB India before moving to Ogilvy. In 2018, I was one of the 20 women across the world, chosen for the Cannes Lions See It Be It program. I was also on the jury for the first ever Gerety Awards. With an experience of 16+ years, my work has won recognition, nationally and internationally.

Best campaigns

• Stayfree Daughter’s Day Campaign 2024 - Beta Stayfree Le Aana
• Johnson’s Baby Mother’s Day Campaign – 2024
• McDonald’s Cosplay – 2024
• McDonald’s EatQual Colours – 2023
• McDonald’s EatQual – 2020
• Star Plus Integrated Campaign 2017 - Nayi Soch (Aamir Khan)

We’ve for a while worked with the top cricketers in the country for Dream11 ads, and yet every time we share our ideas or dialogues that they have to mouth in the commercial, they respond with different versions of ‘Yar kya karwa rahe ho mujhse’. We always try to push the boundaries and see what the cricketers will agree to. For the #TeamseBadaKuchNahi ad, I remember how difficult it was for Suniel Shetty, to tell KL Rahul off in front of Rohit Sharma and at the same time lovingly feed Rohit the apple with his own hands. Rohit too thought it was really funny that KL was being spoken to like this by his father-in-law. While it did seem to have some sort of an undercurrent there, we had so much fun that they couldn’t necessarily finish the ad with a straight face and we had to do many retakes. But we didn’t mind at all. It was a laughter riot.

There was an army of people at our end taking care of the dates of the cricketers and other celebrities who featured in this ad. We’ve collaborated repeatedly with Nitesh Tiwari, and his production house and they really helped make it a smooth ride. We have raised the stakes with Dream11 every single year and start as early as three months before the IPL season. Since the beginning of our relationship with Dream11 which goes back 6-7 years now, we have worked closely with Vikrant, Alok and Ruzbeh. It is a relationship which is truly two-way. We challenge each other a lot and can tell them upfront that it is a bad idea and vice versa and that’s why we continue to do spectacular work on IPL. We explored a lot of babies before we put this particular campaign out into the world.

We dabble with cricketers more often than not as far as this brand is concerned, but there have been campaigns for bilateral series, and those that are a bit more tactical in nature, which we have pulled off without the cricketers as well. But because of the category that Dream11 is in and our strong association with the cricketing calendar, especially IPL, the cricketers are something that is a must for us. It helps us associate with the sport far more closely.

We’ve been pushing the boundaries every year, we want the scale, we want the conversations around it too. But we don’t go into it celebrity-first, which is why I don’t like the word ‘celebrity advertising’. We go into it idea-first, and then sometimes pepper in the celebrities to give the idea some sort of buzz and scale. But it’s always idea first. Just like my favourite campaign from IPL in the past- Rahul Dravid -CRED ad, while we didn’t make it, I believe it had a strong idea. I also really liked the Zepto ad with Shankar Mahadevan made by Ayappa.

Also, fingers crossed for our next IPL ad, which is in pre-production mode right now. We’ll be shooting the ad very soon and hope you guys like it this time as well.

Ads that I loved in 2024

• Work done by Juneston and Team Ogilvy for Colgate.
• Latest work on Instamart by Devaiah Bopanna and Team Moonshot.

About Adarsh Atal
After almost a decade at Lowe Lintas Bangalore, I joined Tilt pretty much from its inception. Along the way, I am proud to be part of the great work on brands like Tanishq, Paper Boat, Flipjart, Britannia, Fastarck, Dream11, Swiggy, Licious, Livspace, Ultratech, Myntra and many other.

Best campaigns

• Dream11
• Livspace
• Tanishq
• Paperboat
• Groww
• Licious

Our concept revolved around reshaping how alphabets are taught in schools, challenging the norm of “H for Hippo” or “H for House” and instead making “H for Handwashing” a cornerstone of education. This campaign’s evolution led to the unique integration of Moo Deng, a global sensation, into the narrative. The idea of incorporating a hippo into the campaign had been simmering for a while. Inspiration struck during a casual scroll through Instagram, where Moo Deng was making waves, even predicting presidential elections. We have for a while had the vision of connecting the world’s oldest living hippo with our Global Handwashing Day activities every October. But then Moo Deng came along.

Convincing the brand came with its share of challenges. Questions arose about Moo Deng’s global appeal and whether it was merely a fleeting trend. But the buzz surrounding Moo Deng, coupled with the unexpectedness of a hippo as an influencer, silenced doubts. However, working with Moo Deng came with its quirks. On the designated shoot day, Moo Deng decided it was her “off day.” Despite cooperative zoo authorities, we couldn’t capture the planned shots. This challenge turned into an opportunity—we accessed existing footage from the zoo’s archives and rewrote the script to suit what we had. The revised narrative, in hindsight, proved more impactful than the original plan.

Collaboration was pivotal for this initiative. Our teams in India and Singapore worked in tandem, blending creativity and technology. While the Indian team spearheaded the film’s production, Singapore contributed an AI-driven app featuring Moo Deng. This interactive tool engages children, teaching them handwashing in an enjoyable way.
The campaign, executed in under a week to meet the Global Handwashing Day deadline, showcased how tech and storytelling could converge seamlessly. And oh, the response has been phenomenal. The novelty of a hippo influencer has sparked global curiosity. Social media chatter around it included envious remarks from international agencies, and accolades poured in. In fact we found out that some agencies in Thailand were apparently a little jealous about the fact that an Indian agency thought about this idea first.

Back in India, former Lifebuoy clients praised the brand’s evolution from traditional TV campaigns to modern, innovative communication strategies. Beyond the initial buzz, the campaign has gained traction globally. Countries like Vietnam, Morocco, and France have celebrated it, and within Unilever, there’s excitement about the potential of using Moo Deng as an educational tool. Governments, including South Africa’s education ministry, are considering incorporating “H for Handwashing” into school curriculums.

Looking ahead, we envision Moo Deng becoming a global icon of hygiene. The AI version and potential merchandise offer avenues for further engagement. From cakes to t-shirts, Moo Deng has the charm to inspire a range of products, cementing her as a delightful ambassador for cleanliness and health.

Ads that I loved in 2024

• Urban Company’s Chhoti Soch by Team Talented

About Sarvesh Raikar
I am an award-winning advertising professional with two Global Effies, the first healthcare agency Cannes metal, and the inaugural WARC x Cannes Lions Gold. I’ve led impactful campaigns like Maharashtra’s MAH Kasam COVID drive, the viral #MainBhiIndiaPolice, and TVS’s road safety initiative praised by Parliament. With experience across brands like Pepsodent, TVS, and Tata Group, I thrive on creating work that inspires and delivers results.

Best campaigns

• #HforHandwashing for Lifebuoy Global
• Strange Rewards, Pepsodent
• Dhoni and Gayle - Skipper Pipes
• #ProtectLittleRiders for TVS Road Safety
• #NotForTheSaintHearted for Yezdi Relaunch

I wish I had a long story behind the project, but the client’s passion really drove this one. Viraj often says he wants to create food his own kids can enjoy, and that ethos is at the heart of this product. It took the brand two years to develop noodles that are MSG free. It’s made with atta, not maida, and getting that consistency was incredibly tough.

They were equally passionate about creating a snack that’s healthy but also mirrors the kind of Chinese food we love on the streets of India— the Chowmein, Manchurian, the rich fragrant flavours. So when the client was telling us about the rich flavour of it, the very Indianized way of having Chinese, the idea started brewing right there in the meeting room, because it was that simple. We obviously didn’t let it be known right then, otherwise, they would have cut our fee by half.

Simplicity often holds the greatest truth, and for a snack, taste is the big mover. It’s impulse food, after all— a little reward, a break from the monotony. People don’t pick a snack for health benefits or glowing skin. It’s all about great taste. Around that, we built shoulder content to communicate the product’s goodness— the health benefits and ingredient stories— but taste led the charge.

Shooting the ad was another story. We didn’t have enough Chinese actors in India, so we went to Thailand, working with people of Chinese origin there. On a tight budget, everything had to be just right. Sukriti, the director, ensured we struck a fine balance. The project couldn’t risk offending either Indians or Chinese people. For Indians, we didn’t want it to feel like we were mocking our mannerisms. For the Chinese, it had to feel authentic, not caricatured. The joy in every detail— the track, the lilt in their steps, the way their shoulders swayed— was designed to walk that fine line while still delighting the audience. The Nagin dance was an absolute riot. Imagine Chinese actors in Thailand doing it at one in the morning, take after take, with such gusto. It’s a quintessentially Indian move, but they nailed it.

The bowling scene was a surprise too; what we thought would take 10 minutes stretched on because the movement doesn’t come naturally to them. These moments brought so much fun to the set and the final film. As far as the track is concerned, Malabari Banger was my top song of the year on Spotify rap. It was my everything track much before we made the ad and I really wanted to use it. This presented an opportunity where you get a desi flavour, but it was not a tried and tested Daler Mehndi track. It gave a lot of freshness to the film. The audience’s reaction to it? Overwhelmingly positive. There were apprehensions about crossing the line, but we approached it with honesty and good intent. I believe that a joke, if it really makes you laugh, then in all honesty you can get away with murder too. Of course there was no murder here but had we executed it badly we wouldn’t be having this conversation. With the right execution, humour remains a cornerstone of Indian advertising, keeping the spark alive.

Ads that I loved in 2024

• Handwash legends’, for Savlon. Done by Harshad, Kainaz and team at Ogilvy.

About Ashish Khazanchi
I am an award-winning creative professional with over 300 national and international accolades, including this year’s Effies Grand Prix. I have had the privilege of working with top agencies like Ogilvy, McCann, Publicis, and Rediff, creating impactful campaigns for brands such as Jaquar, Rapido, Tata Sky, and Lahori Zeera.

Best campaigns

• Jingalala for Tata Sky
• Bike wali taxi, sabse saxi for Rapido
• Har koi peera for Lahori Zeera
• Chinese par Apne style se for Wok Tok by Veeba
• Jaquar bath and lights for Jaquar

We always try to think content-first in our campaigns. Juhi Chawla wasn’t someone the brand had signed in advance. The idea came first – just because ‘Chawal’ rhymes with ‘Chawla’. It’s essentially a spelling mistake, and that became the foundation of the ad. Once we had this concept, we reached out to her, and everything just fell into place. She agreed, and the brand could afford her. It was a match made in heaven.

We did consider other options, like Badshah, to confuse with Badshah Masala, but the brand wanted to keep it generic and not tied to any specific product. That’s why the focus stayed on ‘chawal’ as an idea. Keeping the ad simple and agnostic really worked for us. It’s not just the Swiggy Chawla ad – many of our recent campaigns have travelled well and received great validation, even in family WhatsApp groups. We have realised the importance of standing out in a world where attention spans are shrinking. The brand message and story are vital, but content that grabs attention is non-negotiable.

Working with Juhi was wonderful, though it had its challenges. She was a bit apprehensive at first, as she wasn’t the ‘star’ of the ad. But we managed to ease her into it, and she eventually embraced the idea. She was very sporting about it, and her involvement elevated the whole project. It wasn’t a controversial ad, but convincing a celebrity to take a backseat to the concept always takes some effort. In the end, it turned out well, and we’re sure she loved it too. This year, the Swiggy Chawla ad is definitely one of our best pieces, though it’s hard to single out one campaign.

Our work with celebrities really took off with CRED, where we started using them in unconventional ways. That’s become something we’re known for now. A lot of brands who are working with celebrities come to us because they want to do something fun or unexpected. Earlier, in their ads, the story was not guiding the ad, the celebrities were. In a way brands put us up to that challenge and now at parties, celebrities themselves approach Tanmay Bhat, requesting him to take them in our ads.

There are people who say we are just making funny ads and not building brands, but one way of building brands is to use the same tonality or message for years like what we are doing for CRED. Building brands is more about consistency in advertising, it could be by using humour or other emotions. Having said that, if you’re doing work that’s standing out, people will comment on it and that’s fine. Criticism is welcome.

Of late, I have seen some campaigns that have gone viral but in a way they seem to be losing balance by focusing only on virality. We don’t try to do that. If the ad goes viral, it’s good but conveying the brand message is more important to us.

While creating intrigue and awareness is key for brands today, we at Moonshot are also achieving business objectives for the brands, else why would they keep coming to us.

Ads that I loved in 2024

• Jindal Steel- The Steel of India by Ayappa KM

About Puneet Chadha
I’m a Founding Member of Moonshot, where I have created award-winning campaigns for brands like CRED, Boldcare, Lenskart, Shark Tank India, Instamart, Meesho, Subway, and more. Previously, I was a key creative force at All India Bakchod (AIB) and have written films like Looop Lapeta.

Best campaigns

• Swiggy Instarmart- You name it we’ll get it
• Boldcare- Take Bold Care of Her
• Shark Tank India S3 promo
• Cred- Great for the good
• Hotstar- Siway SRK