And more, much more than this 2
The last note I penned down left me with a sense of satisfaction; witnessing many young colleagues and friends resonating with it was truly gratifying. Without further ado, allow me to delve into a few more of my experiences before they fade into the mists of time.
I've always found Nepal fascinating, though I can't quite put my finger on why. My inaugural solo trip beyond India's borders took me to Nepal in the early 1990s. Kathmandu was a vastly different city back then, and sometimes I find myself boasting about being among the privileged few who witnessed Bagmati as a flowing river.
Just before I arrived in Thompson Nepal (JWT), Anandaroop had just wrapped shooting a TV commercial for Jyoti Steel, alongside young, aspiring, yet not-so-famous directors like Asif Shah. There was a unique freshness to the treatment, a quality that remains elusive even today. The commercial primarily focused on quality assurance, if memory serves, consisting of a series of succinct, five-second communications for the client's steel products.
To be candid, my tenure at Thompson Nepal didn't yield many creative endeavors or campaigns that left me feeling fulfilled. I designed packaging for Surya 24 Carat, developed cigarette brands from scratch such as Pilot, revamped packaging for Panther, collaborated closely with my friend Manohar on matchboxes, and introduced brands like Springwood and hair oil for Unilever, both of which have since faded into obscurity. However, there was one notable creative project I collaborated on with Anandaroop - Surya Grind. Our crowning achievement was erecting a live hoarding in Thapathali crossing, featuring an actual Yamaha G5, and orchestrating the launch of Tata ACE by breaking through a fabricated wall during the unveiling. The TV commercials for Everest Bank also garnered praise, thanks in part to the collaboration with Asif Shah (G21) and Shishir Rana.
Given Nepal's status primarily as a trading market, clients were often hesitant to invest in local creatives. Many opted for the easier route of adapting international communications through dubbing or resorting to tactical offer communications. Nonetheless, some forward-thinking groups recognized the value of strengthening their brands through localized messaging, while others focused on nurturing their own Nepali brands, thereby invigorating the creative spirit and ideas in the market.
In all honesty, the creative output of other agencies in Nepal during this time wasn't particularly remarkable either. While Thompson Nepal was mired in mediocrity, there was one agency that stood out for its fresh approach - Business Advantage. I recall several standout campaigns, with the Nepal Samachar Patra commercial being a personal favorite. They also produced compelling work for Laxmi Bank, fostering connections across generations, and for Bajaj, Ace College. These reflections are my own, and I suspect that with time, even they may have lost some of their initial freshness.
One TV commercial that remains etched in my memory is the first multilingual commercial of Nepal, crafted by VChitra. This commercial not only bolstered Wai Wai's brand image and perception but also instilled a sense of unity and patriotism. It marked the first instance where a brand successfully portrayed itself as 'Made in Nepal', evoking pride among consumers and viewers. Credit is undoubtedly due to Harshvardhan and his team, as well as the heads of the Chaudhary Group.
Following the AIDS awareness music video, the Wai Wai anthem sparked a wave of patriotic communications. Numerous anthems followed, from Gorkha Beer to Fone Pay, all leveraging music as a powerful medium for communication.
It would be remiss of me to claim that no other agencies in Nepal produced outstanding work during this period; indeed, they did. However, many seemed to draw inspiration from international sources, resulting in a lack of genuine innovation. I must emphasize that my endeavors during this time with Outreach were far more rewarding than my days at Thompson. We created work that I believe was fresh and, importantly, resonated with me more deeply than my involvement in unrealistic tobacco campaigns. I firmly believe that every piece of work should serve a purpose, and that's precisely what we aimed for with Asian Paints' communications - 'Happiness is having a best friend', 'Keep memories intact', or 'The gift'. Through these campaigns, we shared stories of family, relationships, love, and bonding, without overtly highlighting the brand. Instead, we focused on how Asian Paints' product promise seamlessly integrated into consumers' lives, becoming a part of their daily emotions and experiences. Little did we anticipate that these campaigns would earn some of Nepal’s first international advertising accolades. They not only inspired us but, I believe, our entire fraternity as well. These experiences reinforced my belief that ideas are paramount, and data alone cannot ensure effective communication with customers. Similarly, the choice between digital and traditional communication touchpoints is not an either-or proposition; rather, each is a tool that, when used strategically, can enhance a campaign's impact.
I could continue, but unlike fervent political speeches, I'll conclude my brief journey in my next note. Criticisms, questions, or sharing of your own experiences from these eras are most welcome.
