The amusing part of this campaign is that from the Asian production houses that churn out millions of DVDs for the black market, this anti-piracy video comes along with pirated DVD copies. People who buy pirated videos and pop them into the DVD player would soon see anti-piracy propaganda on Pirated Movie DVDs. The irony is unbelievable.

It’s not just music and movies being pirated and put onto Black DVDs anymore; it is imagery too; complete collections of clipart, photographs and stock imagery collections. You could get CDs or DVDs with thousands of these images and illustrations.

There is a lot of work that goes into Imagery, from the conception of the idea to the final product. Creative Directors will prep their
teams with a real “look” into the market (professional market research), the trends that are affecting lifestyle, what consumers are buying and what interests them, what intrigues the target audience, or would could interest them in the future based on what they’re watching or on what they’re influenced by.

Photo shoots today are almost like film shoots with lights, cutters, expensive equipment, the manpower, the models, sets, and studios. There is a whole plethora of resources required to click images to perfection – the way the wind blows her hair or the direction in which the smoke spirals towards the ceiling and then there is after effects – cropping and color correction – the digital touches, all worked out on Macintosh.

Very few people realize the extent of what goes into a single photo shoot and how expensive it can really be, both financially and in terms of the sweat, effort and toil that photographers and the teams of people involved have to put into it.

According to the terms and policies of Image licensing – to use an image non-commercially is free (or in some cases for a minimal fee) for a limited duration (usually 30 days). This is only if the images are used only for personal, noncommercial use and solely for test or sample purposes. The files may be used to take a closer look at a particular image or to create material for proofing presentations to end clients. Files are not licensed for use in final projects, whether for internal or external use.

Imagery, just like books and music is intellectual property. Imagery being used unintentionally or by mistake from simply surfing off the Internet is illegal. The commercial unauthorized usage of imagery leads to lawsuits and other legal complications. So the next time an image pops up and you think it would look exceptionally exceptional on your website or would fit your article perfectly, think twice on lifting it.

Travelling necessitates particular signal before purchasing as unlike other products, it cannot be tried before buying. Image therefore plays an important function in the destination variety course.

To sell the experience of a particular destination, visual imagery assumes significance. The task of marketing and promoting tourism becomes easier with the use of images and photographs. The customer gets a feel of a place with his eyes first. Pictures create the image of a destination and thus encourage people to consume. Photographs are the mainstay of holiday brochures. Mere looking at the beautiful pictures gives a person the feel of being in the holiday destination. Simple description about the travel package with supporting photographs go a long way in the marketing of the travel packages.

Cox & Kings, the renowned travel brand, has always been conscious of the fact that pictures play a significant role when selling holidays. The eye catching images of various destinations which are included in the company’s brochures are one of the main factors that attract customers to avail of its exciting holiday packages.

Through the use of unique and enchanting pictures, Cox & Kings has successfully promoted various destinations like America, Australia and islands such as Mauritius. When creating brochures for destinations, Cox & Kings pays particular attention to the pictures that are to be included in the brochures as they are bound to influence the customer’s decision.

Who would want to resist a visit to the breathtaking beaches of Mauritius, the majestic land of America and the beautiful landscapes of Australia? No one really! And when one has the images to capture the experience before even visiting the places physically, you are sure to make your dream holiday come true!

Vijayraj: Just 8 months in Creative and Vijay has already featured in the Luerzers Archive. A hard working Art Director that has a liking for basketball, veggie burgers and movies.

9 a.m – Chop Chop. The time you head out of your home into the mad mad world of daunting traffic, mundane office routines, never-ending meetings and tight deadlines.

Day after day. Month after month. Year after year. Your workload just keeps piling on. And a weekend holiday seems like a distant dot fading away slowly but surely from what you once called a life. So where do you search for time spaces to do what you love doing? To kick back and unwind even if it means just for a few hours.

Home? Nah! You might say.
Well, Arihant thought otherwise.

Unlike the other real estates that were ranting about space and luxury, the brief given to us was very simple. This particular project is a home worth going back to, a permanent retreat if you’d like to call it.
And so came the name ‘Escapade’. A home that helps gets you away from the stress of life.

The campaign too revolved around the same thought. Escapade has all the space to relax, the recreation to keep you occupied and what’s more it’s also a home. Neatly executed and well crafted the idea is simple, classy and communicates the message very easily.

The theory of the multiplier effect is based on the principle of integration, which holds that all communication emanating from a single strategic platform will generate a bigger bang for the client’s hard earned buck, as opposed to traditional independent media executions.

Case in point:

Option A: You walk up to a girl at a bar and ask her if you could buy her a drink.

Option B: Or you walk up to the same girl and tell her, “I think I’ve lost my phone number…do you mind if I borrow yours?”

Irrespective of the outcome, if you go with Option A, you’ve lost the opportunity to communicate the kind of person you are. Whereas with Option B, you’ve driven home the point that you’re a fun person to be with, you’ve kind of managed to forge a rapport and chances are she might just ask you to join her for a drink. (Ok, in all fairness, I must admit: it’s perhaps a miserable, nah, lousy, a much hackneyed pick-up line, but then again, that’s another story and I’ll leave it to you, dear reader, to figure that one out.)

Thus, the point I am trying to make is that successful brands all over the world do not look at tactical communication as merely a means to announce new packaging, new offers or new products.

Wieden and Kennedy’s launch commercial for NikeAir Max 360 does not hard-sell a sensation akin to walking on air. Rather, Nike has elevated its image by conveying a savvy aura of coolness and athletic accomplishment. The spot is almost entirely composed of a montage of images of athletic superstars such as the New England Patriots Tom Brady and track and field Olympic gold medalist Liu Xiang waking up all over the world and engaging in some form of morning exercise, ranging from swimming to basketball and, of course, running. But only once during this spot do we see an actual shot of the new Air Max 360, and it’s a fleeting one at that. While the bulk of the commercial continues to spawn consumer connect and loyalty that Nike is famous for, the fleeting shot of the shoe actually goes on to raise the product’s coolness factor.

Therefore, when we were faced with the brief for Fedex, which recently introduced additional flights to key business destinations across the world, we decided to apply the multiplier effect. Instead of merely announcing the new services Fedex had to offer, the campaign communicated a visual story of the commitment to go beyond the call of duty, thereby re-inforcing the core brand essence.
Did the campaign actually work for the client?
Absolutely, positively

Know more?

Anil started his advertising career 13 years ago. Before joining Percept, Anil worked with agencies such as Leo Burnett, Enterprise Nexus, Ambience Publicis and SSC&B Lintas. Along the way, he’s created campaigns for The Times Of India, Femina, The Economic Times, Brand Equity, Indiatimes.com, Pierre Cardin, Thums Up, Lakme, Vicks, Nerolac Paints, Park Avenue, etc. Anil has been a finalist at several award shows and he has won over 35 awards, some from The Asia Pacific Adfest, London International Advertising Awards, The New York Festivals, The Abby Awards, CAG and Montreux. He has won the Campaign of the Year award at the Asia Pacific Adfest and the Abby Awards.

Last year, Anil was a member of the film jury at the New York Festivals, a member of the print jury at the Abby Awards and a member of the outdoor jury at the Outdoor Advertising Convention (OAC) Awards.

Manish Ajgaonkar started his career 8 years ago at JWT. After spending a year he moved on to Ambience Publicis, Enterprise Nexus, SSC&B Lintas, Saatchi & Saatchi. He has worked on brands like FedEx, Planet M, Be:, GM, NECC, Vicks. His work for Planet M has won a Clio Nomination, D’Arcy Worldwide Silver and has also been published in The Showcase of Indian Advertising. He represented Ambience D’Arcy in the 49th Cannes Advertising Festival, France, in the year 2002.

Imagine walking into a bar with your best friend. There’s just one person inside – a gorgeous young blonde, sitting on a barstool in a short red dress. Your friend gets an urgent call. He needs to disappear for an hour. Talk to her in the meantime, he says. Your mind works like lightning. You’re going to turn on the charm. You’ll crack a joke. Start a casual conversation. Compliment her on her eyes. You’ll talk about your childhood, your hobbies, the cute pup you never had. You’ll talk about your job. Even the weather will be fun to discuss.

Now imagine the barstool held a stern 200-pound woman from Bulgaria.

Welcome to the world of financial advertising. A world where the consumer is quite a different animal. He has a different mindset. He speaks a language you’re not too familiar with. Suddenly, Levis-like antics are out of the question. Nike-like passion seems a little improbable. And try greeting a financial analyst after a hard day’s work with a throaty WASSSSSSUP and God help you. The task of conversing with the woman from Bulgaria – like the lady herself – assumes Herculean proportions.

But then, that’s exactly where the challenge lies. If you cannot do roll-over-with- laughter kind of humour, it simply means you need to come up with a good enough insight to be remembered. Because chances of

doing a ‘wassssssup’ are not too promising, one must resort to other ways of occupying the consumer’s mind space. It could be a smart use of colours or a novel treatment. It could be a mnemonic. The three-dimensional logo in the Deutsche Bank campaign is just one of several possibilities. Having a product differentiator, naturally, works to your advantage. But the need for creativity, ironically, is even more applicable when it comes to financial advertising.

Over the years Nike, Levis and Budweiser have created path breaking advertising that most of us are in love with. But MasterCard, with one mother of an insight and countless endearing executions is no less memorable. While advertising has done a commendable job in making white and orange synonymous with a global telecom brand, the advertising for HSBC can lay claim to an achievement that’s certainly no less significant.

There’s no denying it – financial advertising will always be a different ball game. The guidelines will stay. The list of dos and don’ts will only get longer. And focus groups, bigger. But at the end of the day, the ground rules of advertising will still apply. As long as you are relevant and interesting, advertising should hit home. No matter whether you are selling a powerful cruiser or launching the newest retail bank in town.

In this month’s issue of Collage, the duo has put down their views on Branding and why the Brand Image needs to change every now and then.

In today’s fast moving world if we don’t keep up with the present, we perish. So people are constantly changing their appearances. We add colour highlights to our hair one year and get a tattoo the next. We grow pony tails one year and shave our heads the next. We wear baggy trousers one season and cargos the next.

It works the same way with brands also. Brands need to constantly reinvent themselves. Because brands always need to connect with people. And people are ever changing. Unless you’re a brand that stands for old-fashioned values. Like Dalda. In such cases changing the brand image into something new and contemporary could be fatal. But in most other cases you need to constantly keep up with the times.

The advertising, and therefore the image, of brands like Levis keeps evolving and changing generation after generation, year after year. That’s why Levis has remained a cult brand for 150 years.

Adidas changed its logo and advertising and suddenly it became a serious contender to Nike. Even in award festivals.

The brand Altoids lives with old-fashioned packaging but, (pun unintended) refreshes its image constantly with its humourous advertising.

Honda used to be a boring, stolid Japanese car brand. Then a few years ago, with slick, award-winning commercials like ‘Cog’ and ‘Grr’ it changed that image forever. Suddenly Honda had become a serious car company that was making cars you actually wanted to own. HP, was a boring computer and printers company, until Goodby and Silverstein made them a new-age computer brand with a series of cutting-edge commercials. No one took Smirnoff seriously until Tarsem suddenly made it cool with his ‘a different world seen through the bottle’ ads. In our own country, dull, old-fashioned SBI is trying reinvent itself as a modern 21st century bank. The list is endless.

This change or evolution must never be expressed only externally. It should not just be lip service.

Madonna is the best example of someone who keeps reinventing herself. She is in tune with trends that are about to happen two years from now. Her clothes, hairstyle and most importantly, music constantly keep evolving. And that’s the secret of her staying power. In the other extreme is Michael Jackson, probably the worst example of change. In the last two decades he has changed his hairstyle, nose and even skin colour. And because he’s changed only externally, he is nowhere today.

The best formula for a brand to succeed is change, evolve, keep up with your audience and the times and connect with people. As the Ogilvy annual report puts it, “Evolve or perish’.

In the 70’s Alyque Padamsee made a bar of soap an item of fantasy. The Liril girl and her splashing routine under the shower-turned-waterfall were aimed at every working woman who got ten minutes every morning completely to herself when she stepped into the bath. These ads, through their journey into the decades, retained the essential spirit of fun and indulgence. Various girls in various clinging dresses danced, spun, and got blissfully drenched under the shower.
But in 2004 Liril’s old appeal and its catchy jingle disappeared to be replaced with a slick, chic, positively international campaign that did away with both the soap and the shower. The Liril girl is now a South African beauty who plays a game of catch-as-catch-can with a besotted beau. Playful indulgence is replaced with playful sex. And the jingle changed too. In effect, the brand changed and acquired a distinctly sexy new aura. Behind the creating of this new avatar is Priti Nair, executive creative director at Lowe, Mumbai. She talks to us about when sex sells. And when it repels.

Why did you decide to change Liril’s image?
The old image worked very well for the brand, but recently this approach hadn’t been going anywhere. The time came to move the brand away from its established groove and set it under a new light. Besides, the product itself changed. Where the old Liril was all about lime-freshness, now it is lime plus aloe vera. So we picked a couple to represent the dual essence of the product.

The ad’s appeal has changed very dramatically from frolicsome indulgence to naughty sex. Why this decision to tie sex in with a product unrelated with sex?
Liril has always been about a girl’s fantasy. This idea was extended from enjoying a shower to being courted by her man. When it comes to personal products for women, sex is never entirely misplaced or unrelated. Being attractive to the opposite sex is simply another fantasy that we’ve depicted. Besides, there’s a difference between sexual and sensual; and Liril is all about sensuality.

Given the content of the ad, have you had to deal with the moral police?
Of course we heard from them. We got the usual lines about how they cannot watch this ad with their family thanks to the sexual connotations. But really, you can’t take these people too seriously. They seem to have all the time in the world to sit around finding fault with things. The Liril ad is not done in bad taste, and depicts nothing controversial.

Even when we worked on the Balbir Pasha communications campaign – one that spoke to and helped so many people in the country become aware of and sensitive towards HIV-AIDS – there were some who came up the same lecture on morality and the like. But our conscience was clear. And really, with the kind of things we see on remix videos these days, it’s ridiculous that ads get picked on for vulgarity.
Sex in Indian ads tends to be mostly international in appearance; your ad too features foreign models. Why, when the product is aimed at national markets?

The decision is a conscious one. The ad features South African models; we wanted models who were very comfortable with their bodies and uninhibited with such overt physical displays. This is exactly the sort of free-flowing form we wanted for the Liril ad. Indian models are not as candid with this sort of emoting. Also, moral walls go up faster when Indian actors are involved.

What should an ad using sex NOT be like?
First of all, it should never ever ignore or hurt any religious sentiments. Secondly, it should be done responsibly. Those music videos with grown women dressed in school-girl uniforms are a case in point. In a country where rape and crime against women is growing every day, the use of this sort of imagery is really unethical. Thirdly, anything that is lewd or distasteful is a no-no.

Which ad in your opinion has used sex most effectively?
The Axe ads immediately come to mind. The ad takes you right to the point before copulation and it’s done so well that it brings a smile every time. That’s another ad, by the way, that uses international faces because scent is perceived as better foreign.

In agencies, today, that remark is not a painful boot to the ego but a pat to the back. Creative teams across the world are building their portfolios and careers on funny platforms. And brands, well, they are cashing in like never before.

The size/importance/cost/category of the product is never a bother. It could be something as inconsequential as a 50 paise chocolate or as serious as contraceptives. Humour sells all as long as it is relevant. It manages to stand up from the clutter, get noticed. And remembered. People don’t like being distracted. But if you are intruding their lives with an ad it better be worth their time. It better bring a smile to their face.

We tried going back in time to dig out the earliest trace of humour in advertising. But to every old ad that we found funny there were two even older and even funnier.

We gave up the chase and decided to highlight a few ads (across time and eography) that tickled us.

Hope you enjoy them as much as we did.

National Park, Wildlife and Plant Conservation Department

Headline: Keep chopping

DHL

Headline: Nothing stops us.

Know more

Ogilvy and Mather have created some of the funniest ads in the Country. Fevicol, Mentos, Centre Shock, Hutch are, to name a few, the ads on a lighter note. Some ads pertaining to serious issues, such as Cancer and adoption have also been handled with a bit of humour.
Abhijit Karandikar and S Ramamurthy, the Creative Consultant duo at O & M, Mumbai write about why they think humour is a good way to go about spreading the message.

We all see a lot of Public service advertising… most of it during award ceremonies. The work is so wonderful and touching that you wonder how come we don’t get to see more of it in the outside world. Lots of reasons, obviously. But the one I plan to address is the dilemma agencies face when confronted by advertising for NGOs. The question I am asking is – Is advertising for an NGO different from that of a Brand?

Yes and no.

Meaning?

Well, Are you a different person when you are at home and at work?

Does your response to questions vary when the person in front of you changes?

Do you in the similar situations behave differently?

Do you always compare brands and buy the most expensive?

What is your answer…yes or no??

And now let me ask again… Is advertising for an NGO different from that of a Brand?

Let me at the onset say ‘Yes’…. It has to be. One is food for the stomach and the other for the soul. Who do you want to feed more?

Advertising for a Brand is challenging, for many times from absolutely nothing you create a living, breathing entity…. It is just like having a baby. Going thru the whole process with its pains and pleasures intact. Most women and a few men too will know what I am talking about.

But advertising for an NGO is an altogether different experience. It stems from passion… passion for an issue or passion for a good idea…whichever comes first! The joy is when the two marry and a good idea takes the issue to a new high (metaphorically speaking).

But this passion comes for a price. Not that the challenges don’t. But challenges have been in the fray long enough to know the requirements. Passion knows no such boundaries…it is positive, abundant and all encompassing. It engulfs all, refreshes all and enthuses all. Let me just summarize in one line and say, “It is not easy to advertise for NGOs.”

Why? Well to begin with they have their own ‘in-depth, grass root level” understanding of the issue and they work with their hearts…the head is there to crunch numbers and data and tell them how many more hurts they need to cure and how many hands need to be held and how many more doors they need to knock on. But to reach to those that are not affected by all their passion is incomprehensible for them at times and that becomes a massive challenge for an Agency. For those are the ones that the NGOs need to actually motivate.

And motivation does not come cheap either. Obviously NGOs do not come with a lot of money to an Agency. Most of the time they have a miniscule fraction of the money, if any at all, compared to what a brand has for marketing, but the need is much direr! At the same time they are in a fix to for they have to clearly answer their conscience if they should actually be promoting themselves or should the money be used for those ten odd children who could be sustained for a whole year on the available cash?!

Besides the money ­factor the bigger issue becomes where to get the exposure even if the Agency manages to pull together resources to get a brilliant campaign out. Which NGO could possibly afford the lakhs needed to air the spots or print a campaign with the outcome of a visible brand? Prohibitive costs may at best allow releases a couple of times in press and print. And then this, during awards, sometimes becomes a controversy in itself within agency circles.

To top this the TG is very vague. An NGO needs to reach all and naturally an agency cannot create a campaign without knowing whom to speak to…will it be the kid on the street or his mother; or the man in a restaurant; or that woman rushing to shop or is it the girl stepping into college? Who is the audience and Which is the right audience? Who do we target? What do we target?

Brands know whom they are for and what they want to stand for. NGOs talk to all…en-mass…no SEC can define the boundary; no income level is too big or small. Yet each NGO is an individual, run by individual philosophy. So much so that at times NGOs working on the same cause may not have the same POV about how to handle or communicate the same issue!!

Then how does communication give a correct perspective? Agencies are believers in the brands they help create. What do you do with a philosophy? Believe in it? Or simply work on briefs?

That, is another sore spot …briefs I mean. There are none most of the time. What agency people consider briefs with details about target audience, insights, and results expected from the ads, RTB, single-minded proposition, mandatories, market scenario etc are not there. Not that you cannot write briefs it is just that the issues are too complicated to get down to picking one aspect for advertising. You need to tackle e.g. in a women’s issues – gender based violence; mental and physical trauma of domestic violence, rape, child marriage, education, sex discriminations, legal rights, etc. etc as they all are in one or the other way completely related. Separating one from the other at times is impossible. Similarly, there are hundreds of critical issues out there to be handled with multiple choices. Who and what gets priority?

In a different way brands face all this too but then a single-minded vision takes the brand to another level altogether. Added to this is the sheer money power that entrenches the whole brand philosophy in the consumers mind. The 360-degree ideas further ensure that the brands get high recall scores when measured on a variety of parameters.

One could easily say if the NGOs are given matching budgets can they do similar stuff. My reply is if we do not treat them as “Clients” then yes they can and perhaps with a much better ‘ROI’ too which is both at a mental and spiritual level. Added muscle of both electronic and press media would give the much-needed impetus to issues that people at a conscious level tend to put on the back burners. Constant hammering a-la brands can get the message home and call for action could be a hundred times more effective than it currently is.

But to get this going the NGOs need a lot of handholding, nurturing and guidance from the gurus of marketing and advertising. The question then really becomes -Are agencies ready to take up this role? Are they ready to put in all the hard work of nurturing, guiding and sometimes just patiently listening? Are they agreeable to put into place a completely different business module? Are they also ready to deliver the highest standards necessary for the success of the venture, which necessarily means budget constraints and fifty different opinions to be taken on board! And above all the biggest question that needs to be answered is – Is the media ready to lend their whole-hearted support? Without them, things are dead even before beginning. If everybody’s answer is a big and loud “Yes” then there is no reason why agencies will ever need to answer the question “Is NGO advertising different from brand advertising?’

Know more?

Introducing Seema Sood is not easy to do in a few lines. She is Currently working as Head – Project Management and Leo Hope. Seema has worked on the corporate communications account of Nestle, Westside, Nerolac paints, Philips DAP, Glucon D and Heinz tomato ketchup.
Her pride till date has been putting together Leo Hope, with ample support from Leo Burnett team, to make a difference in peoples lives. Her belief is that if we think creatively enough about the mobilization of resources for social welfare and not charity alone our problems could be solved. For this if each of us plays a moral role from whichever chair we occupy, we can change the social fabrics weave completely…intelligent human effort is all that is needed.

Currently she supports HelpAge India, CEHAT, Prerana-Anti trafficking cell, Terre des Hommes (Germany) YUVA, FACSE, CCVC, Bombay Eye
Centre, Koshish-Education centre for the deaf and Mute.

It’s an outdated word, true. Been replaced by hipper cousins like fashion and edginess and cool. And, slowly, quite imperceptibly, it’s been distancing itself from advertising. Some people think it’s a phase. A separation, rather than something final. I believe advertising people have made sure that there’s just no room for it anymore.

Time was when advertising was the place for glamour. (Back when everywhere was the place for something or the other. That concept died, too.) The images, the icons, the trends. Hell, even the smoke-filled halls of ad agencies held a little bit of that elusive quality

Not anymore. Now advertising can squarely be described as real. (End-of-chapter exercise: Count the wrinkles on the Dove lady’s face.) It can also be funny. (Look at that elephant get the Rollo/ the Pepsi/ the whatever.) Or, mypersonal favorite, it has a ‘look’. (I swear, that word was invented for inverted commas.) This last one is usually achieved through a stunningly high-strung creative collaboration between fashion designer and photographer, and, the occasional creative director. (Examples of the former: Every single logo-and-picture fashion ad you see in the foreign glossies. The latter: Every single logo-picture-body-copy-and-address panel fashion ad you see in the local glossies.)
Courtesy: www.dove.com
Isn’t fashion advertising, at least, glamorous still? I think not. When it used to be, the models were bigger than the fashion. Cindy Crawford, Linda Evangelista, Helena Christensen, and the rest of the beautiful people in ‘Freedom’. Somehow, they’d gone from being clotheshorses and magazine covers to a collection of individuals.

They had personalities. Distinctive styles. And, yes, glamour. Tons of it.Today’s supermodels are as beautiful as ever, true, except they’re second to the ‘look’. (The vision. The trend. The set piece.) They have some rare charisma, of course, but there’s nothing indefinable about it. Look at a fashion ad today and it’s right there before you. Beautiful, yes. But also, manufactured, controlled, and created. And if it isn’t mysterious, it isn’t glamorous.

In fact, back then, the photographers were bigger than the fashion, too. As creative people, not as people capable of capturing a look. Big difference, trust me. And the single largest reason why, today, fashion images are beginning to blur into each other as brand after brand hacks its way through/ under/ over/ alongside a trend.

Does that mean glamour is dead? Not at all. It’s just relocated. To film. (Like the cult of Quentin Tarantino.) To design. (Think Alessi. Think Starck. Think Sottass. God, this is tiring.) To movie stars, but only sparingly. (Jolie, Kidman, Bellucci, Jude Law.) To street artists, to rappers, to writers, even.

Will it ever return to advertising? Unlikely. Doubly so, when, with every passing day, we spend time, money and energy to figure out new ways to gain greater control over the advertising image, the individual frame.

It’s a point of view that can be stated much more simply (but for that, you need an art director). Eva Herzigova and ‘Hello, boys’ were all about glamour in advertising. The newer Wonderbra ads, each one of them, are just as sexy. Minus the glamour.

Mail your comments to sangeeta.velegar@jwt.com