‘Social media has become a visual pollution; we need something disruptive’

The Abby Awards, often touted as the Oscars of Indian advertising, serve as a crucial benchmark for recognising and celebrating the most impactful and innovative work shaping India’s advertising landscape. But what goes on behind the scenes, especially in the jury room?

Raj Kamble, a veteran of the advertising world and founder and chief creative officer at Famous Innovations, knows a thing or two about the bold ideas that stood out at the Abby Awards this year, given his vantage point as one of the jury members. In an interview with Campaign India on the sidelines of Goafest 2025, he shared his insights on the evolving creative landscape, the pitfalls of cause-related work, and the forces shaping the future of Indian advertising.

What were some of the boldest creative risks you saw among this year’s entries, and how did they pay off?

This year’s Abby Awards impressed me on several fronts. First, I was struck by the scale—Goafest manages to pull together around 400 judges, which, in my opinion, is on par with the Cannes Festival. No other award show in India matches that scale as of today. The process itself is very transparent. In the first two rounds, we don’t know who else is judging, which ensures fairness.

What is more, the Abby Awards are run by the community rather than a money-making business. There is not an overemphasis on revenue or exorbitant fees. As a result, the quality of ideas is better than ever, and I am optimistic about where things are headed. In terms of trends, there is a surge in ‘new age’ work coming out of India, along with a significant amount of cause-related work. But I have also noticed a shift. Today, ideas are at the forefront. I believe India is on track to showcase its creative strength globally.

What separated good work from the truly great job this year?

Good work appeals to your mind; it makes sense logically. But truly great work connects with your heart. When I see a great ad, my first thought is, ‘I wish I had done this.’ You feel like you want to hold the hand of whoever did it and kiss it. It’s beautifully crafted and beautifully written. It carries emotion and resonates deeply. That emotional connection is what distinguishes a good ad from a great ad: the difference between rational appeal and emotional impact.

Where do you stand on cause-related advertising? Is it evolving?

I think people are tired of just cause-related work now. India has many causes, yes, but there’s a lot of pushback when it comes to how brands are doing cause-related ads. It was good for a time. But now, I don’t want people to sell India’s problems on a global platform to look good. If you believe in a cause, don’t just do cause advertising; stand for the entire purpose.

Ten years ago, we realised that the whole cause of marketing had become fake, without truth. So that year, instead of submitting entries, we did something different. Our office was in Parel, near the Byculla Zoo, which did not have a lion then. We put all that money into adopting a lion for the zoo and named it ‘Canne’. We said, we are not just talking about it, we are spending money to do something tangible, so kids can go to the zoo and see a lion. Any cause; marketing work should not just end with an ad. That is the sad part we see in award shows: no long-term impact. Agencies, charities, and brands all need to commit beyond just creating a campaign.

Are you seeing a change in the briefs brands are putting out today? How is that shaping the work that you do?

Social media has become a visual pollution. Everybody is trying to just do what the client wants, which often results in everyday social media posts, and that is where the industry is going wrong. It is visual pollution, as I said. We need to do something disruptive. Even at the award show, your case study has to be disruptive. You can’t just make a similar kind of format for award entries. So, what I am looking for right now is disruption in all categories, and in the award shows themselves. Award shows are also becoming too similar, with similar kinds of ideas and categories winning. Maybe some disruption is needed there, too.

You spoke of craft and ideas extensively. Based on this year, where did the jury stand? Where did you stand?

There is no one-size-fits-all answer. I can’t say some ideas won purely for craft, purely for a good idea, or purely for both. But in judging rooms, sometimes people think the idea is so good but badly crafted, or sometimes it is an okay idea but beautifully crafted. So it is the vibe of the room. Sometimes craft can be a victim, or the idea can be a victim, or both can complement each other. But in India, the best work happens when a good idea and a good craft come together.

Goafest has long been a space for dialogue on industry trends. What conversations are happening today, and are there any worrying trends?

I am generally optimistic. The industry has shifted from one-way communication to interactive storytelling compared to a few years ago. AI is playing a major role: you can produce a short film on your own today, whereas you used to need a team of twenty. That raises concerns about jobs. AI will replace mediocre talent, while those who embrace it will rise. Brilliant people who leverage AI will stand out.

However, I do see a looming issue—major networks are merging, and with over 60 crore Indians under 30, where will everyone find work? If AI continues to automate tasks, there is potential for a significant recession in creative jobs. I expect we will see major shifts in less than a year; it could be a tough period ahead.

What is the state of Indian creativity compared to international benchmarks?

Indian creativity is improving every day. And I won’t be surprised if, in the next few years, we become the most awarded country. We are not even in the top 15, 20, 30, or 40 historically. But things are changing with the country’s growing economy, a strong command of English, and technology. A young Indian carrying a laptop in London or New York is seen as cool and full of potential. The shift in perception means we are poised to shine on the global stage, including Cannes, especially with the blend of creativity and technology.

What would your advice to young creatives be about being competitive at Cannes or the Abby’s?

Don’t just take India’s problems and try to make an award out of it. Find a genuine problem, make a genuine case, and build a good argument. India is no less than any other country in the world. We are all the same now, especially with the internet making everyone equal. So just play the game now. One challenge remains the high cost of entry fees. Some award shows charge lakhs of rupees, which can exclude great work that can’t afford it.

The best awards in the world, like the Oscar, the Nobel, or the Olympic medals, don’t require entry fees. The advertising industry has a black spot: award show fees. Advertising award shows will be truly successful when awards are given without entry fees. All the big awards cost lakhs of rupees. Creative work should not be sidelined because of cost. If we can reduce financial barriers, the industry will be stronger, and the best ideas will win on their merit.