Author: Shabbir Chunawalla

  • Evolution of Brands

    Brand evolution has interesting history. In ancient Roman and Greek society, shopkeepers hung pictures above their shops of the products they sold. There was a high degree of illiteracy in those days, the pictorial representation did help the buyers. Each retailer than started developing symbols to represent his specialty. This led to the development of brand logos. Logos are short-hand devices indicating capability of a brand. The trend continues even now.

    In medieval times, craftsmen put their marks on products to indicate the skills which went into making them. Branding based on the reputations of craftsmen have existed over the centuries. Thus suppliers started distinguishing themselves. Branding was used as a guarantee of the source of the product. Later it came to be used for legal protection against copying and imitation. Trademarks now include words symbols and package design, and are registrable.

    Branding was associated with the mark put on cattle by red hot iron as a proof of ownership, and this must have influenced Oxford English dictionary’s lexical meaning of a brand ‘as an indelible mark as proof of ownership, as a sign of quality or for any other purpose.’ Ranchers in the old west used brands to identify their cattle. As fencing was not invented, this was the only way to mark their valuable property. Brands thus became differentiating devices, and  remain so even today. They identify the products of one seller or group and differentiate them from those of the competitors. Brands can be a name, term, sign, symbol or design or any combination of them.

    Classical brand management developed in the retail grocery stores. Manufacturere retailer relationship underwent transformation in the wake up of the Industrial Revolution. Wholesalers were a dominant force then. Manufactures sold unbranded products to the wholesalers and had little contact with the retailers. But technological advances enabled manufacturer to mass produce goods in anticipation of demand. They questioned their reliance on wholesalers. They tried to protect their investment by branding their products and by patenting them. They tried to bypass the wholesalers by advertising these brands directly to the costumers. Advertising then focused on creating awareness of a brand, emphasizing its reliability, and guaranteeing that branded goods were of a consistent quality. Manufacturers also began to appoint their own salesmen to deal directly with the retailers. All this happened by the second half of the 19th century.

    The power shifted from the wholesalers to the manufactures thanks to the branding process. Manufacturers took efforts to create brand awareness, and to make their brands different from those of the competitors. They also strove to maintain a consistent quality level. Brands acquired three dimensions – differentiation, legal protection and functional communication.

    After the World War II, the consumers hankered after the goods which were short since resources were diverted to the war efforts. People started life afresh and wanted security. Family provisions were a desirable objective. It augured well for the manufacturers. Many of today’s great brands emerged in this period. Brand management became a respectable subject. The famous AIDA  model of building awareness, creating interest, building a desire and leading to action of buying arose in this period. This model remained valid for so many decades.

    In the last century, brands came to acquire an emotional dimension also. They made personality statements and represented buyer’s moods. But markets are flooded by competing brands. So consumers began to regard brands as shorthand devices to recall brand experiences or marketing claims. Branding reduces the information seeking process. In the last century, there was another development. Apart from manufacturer’s brands, there were distributor’s private label brands too. Distributors tried to make brands generics though they never succeeded in doing so completely. Multiple retailors started marketing distributors brands or private brands to compete with other retailors, since selling just the manufacturer’s brands with resale price maintenance meant service as the only competitive edge.Some retailers formed an association to market a common brand e.g. in India co-oprative super markets started marketing a common brand for many product categories. Distributor brands made their first appearance in groceries, and later entered footwear, menwears, furniture and floor covering. In retail banking, the manufacturer and distributor are one and the same and so distributor brands are common.

    In the UK, packaged grocery sector witnessed the return to generics or brand-free products. Generics were frill free. Their packaging was plain. The emphasis was on contents. They were priced 40 percent lower than the brand leader, and 20 percent than the private label brand. But the generics were later withdrawn in 80s. Generics were perceived to be closer to private labels, rather than manufacturer’s brands. So the switchovers occurred between these two.

    It is to be noted that a consumer product though a commodity, is open to the branding process by differentiating the offering. Generics make an organisation vulnerable to competition, since its features are easily copiable. Even in industrial products, purchasers are buying not only a basic raw material but a value add on like reliable delivery, well organised re-ordering process, know-how of the product. Marketing of generics has its own fallacies.

    AIDA model was followed by product, price, promotion and place model of the four Ps. These elements are to be combined in the right mix and the brand success follows.

    But these models are not enough. The world has changed. Brand management must also therefore change. We are on the threshold of a great era of opportunity.

  • New Talents in Hindi Films

    More than 150 directors have made debut in the Hindi film industry between 2010 and 2012. A new director is supported by a well-organised film making unit, and so it is not risky to make a film with a first time director. The industry has to learn to spot talent. There are mentors who are ready to take the new comers into their fold. Employing a new director is more economical too, since established directors are as costly as the stars. Then there are producers who also write scripts. However, they do not have the time to direct. They prefer new directors. New directors have to face the challenges of changes in the film at the last minute. There are issues of casting too. They may be asked to get an actor on board. These days the calculations of the film’s success go topsy-turuy. It is for this reason the industry is receptive to the new talent.

  • Design Thinking in Product Innovation

    SAP has trained and put together a pool of 100 people who are practitioners of design thinking. It is a new approach to product innovation. Here the primary figure is not an engineer but a designer. The idea is to create desirable products. There are small teams each having a designer-in-residence. He initiates the process by interviewing the end user in terms of his expectations. The inputs are used before building a prototype. To set the content, they work like start-ups in their own space, away from cubicles and processes. All people in the organisation are not involved in design thinking—just 10-20 per cent of the people to overcome the innovator’s dilemma.

  • Design Moving from Maximalist to Minimalist and Other Trends

    Karim Rashid, a prolific designer, who attended the India Design Forum in 2012 spoke about the change in design industry from designing for mass production to elitism to going back to a ‘ designocracy ‘ as we are beginning to witness now. Rashid fails to appreciate sentimental design e.g. a restaurant services innovative food, but makes you seat on a 16th-century European chair. He is for beautiful objects that make our lives simpler. Rashid created a bathing luxury — all in one TV-tub unit made of acrylic resin with a waterproof LCD-screen that allows you to watch TV and DVDs and listen to MP3 format music and surf the net. According to him, contemporary design has the power to shape the future. The role of a designer today is to make the world a better place by influencing our everyday behaviou r— functionally and emotionally. Good designs reduce the stress in our environments and in everyday life. His best designs function both as sculptural and functional objects. Gaston Bachelard, a philosopher, called all objects obstacles in our experience of the world. Rashid evokes him and says that indeed we are living in poorly designed world.

    According to Lidewij Edelkoort, a trend forecaster, India urgently needs to create its own design language. Contemporary Indian design has completely distanced itself from the past. Design schools should take on this task.

    International design moves along the continuum of lush-and-plush ( Versace ) to clean-and-simple (Apple ). The extremely of less-is-more has found favour in recent times. Design itself has been used as a strategy by Steve. Dieter Rams, now 80 ( 2012 ), a German designer wrote As Little Design As Possible and put forward the maxim good design is as little design as possible. It stands in sharp contrast to the complex and cluttered Indian design.We focus more on embellishment and less on functionality. A good design is holistic. It is balanced.

    In India, we speak about designer dresses or sunglasses to distinguish these from overproduced banality. Design here defines consumer life style. design makes the products desirable.

  • Sholay : Harbinger of Change in Hindi Movies

    In 1975, Sholay  of Ramesh Sippy gave a western look to the Indian product. It was a risk taken by the Sippys. Had they not risked by the launch of an ambitious film, they would have faced a financial crisis. However, the risk taking was abandoned later, except a few movies such as Shekhar Kapur’s Mr. India and some films by Bonney Kapoor. Hindi films have confined themselves to three or four genres—comedy, crime, romance and family, and a mix of these — comic-crime, family-romance, violent-love-story etc.

    There are no war films, science fiction, fantasy and espionage except a few notable examples. The Sholay’s  bold risk taking move is conspicuous by its absence. Even TV and documentations are no competition to films. Hindi films thus could afford to be lacklustre. Indian movies mainly reflect the small-town North India. Indian movies must now focus on story and spectacle on a variety of genres.

  • BlackBerry’s Failure

    BlackBerry reported losses and laid off people. RIM failed to keep pace with Apple and Google. There were problems on three fronts.

    *  It fails to anticipate that customers (not business customers ) would drive the smart phones market

    * it ignored app economy which led to the adoption of the rival device.

    *  could not foresee smart phones as mobile entertainment. It produced phones with full keyboards, though users preferred touch screen.This allows better video viewing and touch-swipe navigation. When Blackberry finally puts a touch screen phone, it is considered a copy of iPhone.

    In short, it is a failure of vision.

  • Regular Movies vs Animation Movies

    The focus in animated films is more on technology. That takes over the art of storytelling. There is no animation market in India. TV budgets are way too low to support good quality animation. Quality animation movies cost between Rs.20 crore and Rs. 40 crore, and at least a quarter of that in TV. Animation movie budgets in India are often less than Rs. 5 crore.

    Every minute in an animation film adds 5400 frames ( going by the rate of 24 frames per  second ). A 90-minute film will have 130,000 frames in all—or 130,000 unique images that need to be rendered.

    In India, most of the successful feature films, from a financial stand point, are formula films. It is safe for a producer to launch a formula film. We do not have much experimentation in different genres—sci-fi, extreme action or adventure. Animation here is thought of as a product essentially for children. We hope this attitude changes. In the US. too, this did not happen overnight.

  • Pulp Fiction

    Meerut is Hindi pulp fiction country. The people who top the charts here are Surendra Mohan Pathaks, Ved Prakash Sharmas and Amit Khans. Desi pulp is India’s answer to the West’s airport novel. The plots are outlandish, the characters are over-the-top and the titles arrest your attention. Meerut, a cantonment town, is the hub of jasoosi upanyas. It is at railway stations and bus terminus that a chunk of Hindi crime fiction books sell. They are priced between Rs.50—100. They are printed on coarse paper from cheap wood pulp, and hence the name lugdi sahitya  or pulp fiction. Today the margins have declined to just 15 per cent, a huge drop from almost 100 per cent a few decades ago. The nucleus of publishing shifted to Allahabad in the 1970s. Ved Prakash Sharma ( 58 ) stays at Kavi Nagar, Meerut. He is the highest selling author of pulp fiction. He has written more than 150 books and churns out four novels a year, that sell more than one lac copies each. His Vardi  Wala Gunda sold more than 15 lac copies.

    The 1960s spawned a crop of good writers – Rajhans, Ibne Safi, Gulshan Nanda and Ved Prakash Kamboj. In the 70s Nanda’s books were adapted for Hindi movies – Kati Patang, Khilona and Daag.

    Surendra Mohan Pathak ( 75 ) writes intelligent stories. He does not spell out every detail from scratch. Vimal is his popular character.

    Veena Sharma has created Reema Bharti, a woman spy. Amit Khan has created Karan Saxena, a RAW agent.

  • TV Debates vs  Original News

    Media business today is less about delivering the news, and more about live TV debate. Generating original news content is expensive. Comparatively, live debates are economical. They also provide the elements of drama and tension. These are hard times for TV reporters.

    ANI is the TV news agency that provides bytes across channels, and deprives the reporters of the chance to do ambush journalism. As social media is more speedy, the TV reports have also been deprived of the big advantage of speed over print.

    The guests in live TV debates are now managed by Guest Coordinators ( GCs ). Politicians who wish to get on air now stay in touch with GCs.

  • Online and Mobile Video Content

    More and more Indians are consuming content online, on cell phones and tablets. India has 125 million Internet users, of which 35 million consume video content online. There are 30 million smart phone users and 66 per cent of the data consumed by them on their 3G devices is video. By 2014, there will be 100 million smart phone users. The consumption of video over smart phones is expected to grow by 60 per cent. Star India has launched Starsports.com in 2013 and it is a paid platform right since its launch. Sony has launched Sony Liv. The cost of one-minute ad spot on Sony Liv or any broadcast platform ranges from Rs. 400 to 600 per minute. For high TRP programmes, the rate could be even Rs. 800 to 1000 per minute. By 2020, almost 70 per cent of video content consumption will happen on mobile and tablets.