Category: Regulators

  • NXTDIGITAL Ltd. shareholders approve name change

    Mumbai: NXTDIGITAL Ltd. (NDL) has announced that the company’s shareholders have approved the change in the company’s name to NDL Ventures Ltd., subject to regulatory approval. The e-voting process began on 29 December 2022 and concluded on 28 January 2023.

    With the on-going merger with Hinduja Leyland Finance Ltd. (HLFL), a systemically important non-banking finance company  (NBFC), into the company  (subject to shareholder and regulatory approval), the company  has inducted HLFL managing director & CEO  Sachin Pillai as an additional director on the board of the company. This will pave the way for the company  to enter the financial services sector.

    Welcoming Sachin Pillai on to the board, chairman Sudhanshu Tripathi stated that “We are very pleased to have Sachin Pillai on our board. With his experience of over two decades of leadership experience he is very well positioned to support our financial services blueprint.”

    The company  has always strived to maximise the interests of its shareholders. To that end, the recently completed issue and allotment of equity shares of Hinduja Global Solutions Ltd. pursuant to the scheme of arrangement, as well as the subsequent dividend on these shares, have benefited the shareholders significantly.

    The company ‘s shareholders will also benefit from the opportunity to participate in Hinduja Global Solutions Ltd.’s buyback offer and the ongoing merger of HLFL and NDL.

    These actions have resulted in significant value for minority shareholders.

    Concerning the proposed merger of HLFL and the company, the board of directors of the company  approved the draft scheme of arrangement of the company  with HLFL on 25 November 2022. The scheme of arrangement has been submitted to regulatory authorities for approval; once approved, the necessary applications will be submitted to the national company  law tribunal.

    For the quarter ended 31 December 2022, the company reported a profit after tax of Rs 38.30 lakhs. These results are after the transfer of the digital media & communications business undertaking to Hinduja Global Solutions Ltd., and thus appear on the company’s reduced balance sheet as it is currently in transition.

  • Anish Raghunandan becomes the new CEO of Tata ClassEdge

    Mumbai: Tata ClassEdge Ltd. (TCE), a venture of Tata Industries Ltd., has appointed Anish Raghunandan as its new chief executive officer. Raghunandan has been with the Tata Group for nearly two decades and is part of the Tata Administrative Services (TAS) 2007 batch of managers handpicked for leadership by the group.

    Outgoing CEO, Milind Shahane, superannuated from the group after a stellar career of over 35 years.

    Commenting on the new appointment, Tata Industries Ltd. executive director KRS Jamwal said, “I am pleased to welcome Anish Raghunandan as the CEO of Tata ClassEdge. Raghunandan has worked with me in his previous role of vice president – projects at Tata Industries and has a passion and track record of building scalable businesses and turning around companies. Tata ClassEdge is at a point where we can scale our core offerings profitably and Anish has been leading this change as CEO-Designate.”

    Tata ClassEdge provides a full stack of in-classroom and after-school digital learning solutions that are complementary to educators and focuses on improving learning fundamentals in students.

    Raghunandan commented, “I would like to thank the Tata Industries Board and Mr. Jamwal for the warm welcome. We are focusing on delivering value to our partners by providing a range of solutions that help impart learning. Our core proposition is to partner with educators and teachers to enable them to improve outcomes for a wider range of learners. I am excited to join my colleagues at Tata ClassEdge, as we kick off a process that sets us in a direction of profitability and growth, while continuing to build on the positive aspects of our culture and customer centricity.”

  • Mullen Lintas wins the creative duties for Hindware Sanitaryware and Tiles

    Mumbai: Mullen Lintas Delhi, to handle the creative duties for Hindware, one of the most trusted Indian household names when it comes to sanitaryware and bath fittings. The business was won after a keenly contested multi-agency pitch process. The account would be handled out of the agency’s Gurgaon office.

    Mullen Lintas has a strong legacy of building brands delivering ‘unfair’ shares of attention that have become key differentiators for them in cluttered categories.

    Hindware Ltd.,  the home of iconic brand “Hindware” has a versatile range of best-in-class bathware & kitchen products and also houses ‘TRUFLO by Hindware’, plastic pipes and fittings business. It is highly driven by innovation and supreme customer service. The brand believes in providing its customers with products backed by research and are known for our quality and designs.

    The Indian tiles, sanitary ware and bathroom fittings market reached a value of $7,516 million in 2021 and it is expected to reach $12,006 million by 2027 exhibiting a CAGR of 8.39 per cent during 2022-2027. The housing sector has been growing, due to the rise in the purchasing power of individuals, rapid urbanisation, and government intervention to provide easy loans, among others. These factors, in turn, have been contributing towards the growth of the market.

    Speaking of the win by the agency, Mullen Lintas CEO Hari Krishnan said, “Purchase decisions when it comes to Sanitaryware used to be led by functionality and value. However, that’s not the case any longer and it’s not seen as an extension of personal space and expression. This is where Hindware has made a difference with its innovations & design and our focus would be to consolidate the brand equity for Hindware based on these values & benefits. We are excited about this partnership and look forward to creating a new narrative in this category.”

    Commenting on the association, Hindware Ltd. Charu Malhotra vice-president, marketing said, “Hindware is known for design excellence, innovation and quality. Our products are backed by extensive consumer research and Insights. We have been evaluating different partners to further build the Hindware brand equity through sharp and relevant consumer insights and creative expressions. For us what stood out about Mullen Lintas was how the strategy & storytelling came together in perfect sync and of course the passion and enthusiasm the team brought to the table. We look forward to some stellar work being developed for the brand.”

  • MIB issues advisory on public service broadcasting obligation

    MIB issues advisory on public service broadcasting obligation

    Mumbai: The ministry of information and broadcasting has directed private broadcasters to undertake public service broadcasting for 30 minutes every day.

    The ministry has clarified through the advisory that the relevant content embedded in the programmes being telecast can be accounted for public service broadcasting. It is also clarified that the content does not have to be 30 minutes long and can be spread out over smaller time slots, and that the broadcaster must submit a monthly report online via the Broadcast Seva Portal. The broadcasting theme should include content of national and social importance, such as the following, namely:

     1.   education and the spread of literacy;

     2.  agriculture and rural development;

     3.   health and family welfare;

     4.   science and technology;

     5.   welfare of women;

     6.   welfare of the weaker sections of society;

     7.   protection of the environment and of cultural heritage; and

     8.   national integration

    Accordingly, it has been decided that the private satellite TV channels need to undertake public service broadcasting in the following manner:

     Content:

     1.   The list of themes of national importance and of social relevance given under clause 35 of the policy guidelines is indicative and may be expanded to include similar subjects of national importance and social relevance such as water conservation, disaster management, etc.

     2.   Broadcasters have the liberty to modulate their content. The relevant content embedded in the programmes may be accounted for as public service broadcasting. However, it should be done in such a manner that the overall objective of public service broadcasting may be achieved.

     3.   The content can be shared between the Broadcasters and could be repeated telecast on one! several TV channels.

     4.   A common e-platform may be developed as a repository of relevant videos or textual content from various sources for the purpose of public service broadcasting, which may be accessed and used by TV channels.

    Accounting of timing:

     1.   The content need not be 30 minutes long at a stretch. It could be spread over smaller time slots. The time for which the public service broadcasting content is telecast in between commercial breaks shall not be accounted for in the 12 minute limit for commercial breaks.

     2.    The time for the content under public service broadcasting shall be accounted for cumulatively on a monthly basis, i.e., 15 hours per month.

     3.   The time for transmission of the relevant content shall be flexible, except that any content transmitted from midnight to 6:00 a.m. shall not be accounted for under public service broadcasting.

    Reporting:

     1.   Voluntary compliance and self-certification would be the guiding principles.

     2.   Broadcasters shall submit a monthly report on the Broadcast Seva Portal (in the format annexed in Annexure A) on or before the 7th day of the following month.

     3.   Broadcasters shall include a compliance certificate in their annual report.

     4.   Foreign channels, downlinking in India (in languages other than those specified in the eighth schedule of the Indian Constitution), shall be exempt from the obligation of public service broadcasting.

    5.    The channels broadcast predominantly (for more than 12 hours) sports and devotionals! spiritual! Yoga content shall be exempt from furnishing the monthly reports on the Broadcast Seva Portal.

    Identification :

     1.   The broadcaster shall keep the record of the content telecast for a period of 90 days. The electronic media monitoring center, under the ministry of information and broadcasting, shall keep the record of the content telecast for a period of 90 days.

  • Industry opines on ASCI’s guidelines on disclaimers

    Industry opines on ASCI’s guidelines on disclaimers

    Mumbai: In an advertisement, be it a television commercial or a digital ad, the most ignored and unread portion is undoubtedly the disclaimer. In a recent survey carried out by ASCI with 130 consumers, it was observed that 80 per cent of respondents did not notice the disclaimer, 33 per cent could not understand the disclaimers clearly even after adequate exposure time had been provided, and 62 per cent of respondents felt that the disclaimer was excessively long. Keeping this in mind, The Advertising Standards Council of India (ASCI), has updated its guidelines for disclaimers made in supporting, limiting or explaining claims made in advertisements.

    During their meetings, the Consumer Complaints Council (CCC) has also observed that sometimes, the frame of the advertisement that contains the disclaimer was very crowded, and distracted the viewer’s focus.

    To address these issues, the Guidelines for Disclaimers made in supporting, limiting or explaining claims made in advertisements have been amended by ASCI after consultation with stakeholders. The key additions to the existing disclaimer guidelines are as follows:

    • The use of disclaimers should be kept to a minimum. Long or otherwise complex disclaimers with large blocks of text and difficult words are a deterrent to viewers attempting to read the contents of the disclaimer. In such cases advertisers should modify the headline claim to reduce the need for further qualification through disclaimers.
    • Hold duration and readability of disclaimer – In television commercials or any other video advertisement on digital media, all disclaimers should be clearly readable to consumers. In a single frame in an advertisement:
      • There should not be more than one disclaimer
      • The disclaimer should be restricted to two full-length lines and remain on  screen for more than 4 seconds for every line
    • For regulatory requirements where the disclaimer exceeds two lines additional hold duration should be accounted for. For the purposes of calculating the duration of hold of disclaimers, all forms of text appearing on screen at any one point in time should be counted. This includes both disclaimer text and any text content in the main ad creative regardless of where on screen it appears and whether or not it is repeated in audio.

    Other key facets of the disclaimer guidelines which remain unchanged are:

    • A Disclaimer can expand or clarify a claim, make qualifications, or resolve ambiguities, to explain the claim in further detail, but should not contradict/modify the material claim made nor contradict the main message conveyed by the advertiser or change the dictionary meaning of the words used in the claim as received or perceived by a consumer.
    • A disclaimer should not attempt to suppress material information with respect to the claim, the omission/absence of which is likely to make the advertisement deceptive or conceal its commercial intent.
    • A disclaimer should not attempt to correct a misleading claim made in an advertisement.
    • A disclaimer shall be in the same language as that of the claim/s of the Advertisement. In the case of bilingual advertisements, the disclaimer should be in the dominant language of the advertisement.   

    Indiantelevision.com spoke to a few ad industry veterans to know their views on what they think about these guidelines for disclaimers.

    Views about the ASCI guidelines for disclaimers

    According to Schbang executive creative director Manish Kinger, “For as long as I remember, disclaimers in ads were designed to serve a singular purpose: to somehow manage to barely hit the bar of being accepted as a disclaimer. 80 per cent of the people do not notice the disclaimer does not mean that only 20 per cent disclaimers are doing their job, it means that 80 per cent of the disclaimers are doing the job, as intended by the brand and the advertising agency. Nobody in the agency shows up to work and spends the whole day thinking, ‘how can I make this disclaimer more viewer-friendly?’ The amount of importance it gets on the screen is reflective of the amount of respect it gets in the brief.”

    He goes on further, “What do I think about the new set of guidelines? I think, about time. The latest guidelines are more direct, prescriptive and a lot less open to interpretation. Maybe even unforgiving and inflexible but for sure, loaded with the intent of making the consumer take notice. Whether increasing the duration of the disclaimer on screen or reducing the jargon-ness of it or really shortening the length or increasing the font size will eventually drastically improve the reception of a disclaimer, only time will tell. However, I do believe as ad makers, we need to have room for a disclaimer discussion in briefing sessions and sensitize ourselves on the subtle/casual/invisible claims being made in our creative products, and wherever possible, figure out a way to not claimvertise.”

    Famous Innovations national planning head Mitali Srivastava Hough points out, “As a part of the advertising industry, I have a positive view of the guidelines set by ASCI with regard to disclaimers in advertisements. These guidelines provide a framework for ethical and truthful advertising practices and help to ensure that advertisements are transparent and not misleading to consumers. The advertising industry plays a critical role in promoting products and services, and it is important that advertisements are held to a high standard. The guidelines set by ASCI help to maintain the credibility and integrity of the industry.”

    Thought Blurb Communications founder and chief creative officer Vinod Kunj has an interesting take on this. He says, “An ad’s job is to interest the customer with a promise and hope. The disclaimer’s job is to tell customers not to get their hopes up. Putting the two in the same communication space is immediately creating confusion in the customer’s mind that the ASCI hopes to clear. The only quantifiable new guideline is to put the disclaimer up for four seconds. The rest are still in the area of hopes and dreams. Surprisingly, one of the main concerns seems to be that there are too many disclaimers in the ads and that is the reason for the confusion. At any rate, crafting the claims in an intelligible manner is always good advice.”

    Says iCubesWire founder & CEO Sahil Chopra, “Disclaimers are a crucial part of advertisements, clarifying the claims made in the ad and reducing the risks of misleading customers. Recently, India’s self-regulatory Advertising Standards Council of India (ASCI) conducted a survey to identify the effectiveness of disclaimers in ads. However, the survey’s outcome indicated that 80% of the consumers do not notice the disclaimers. If consumers cannot read disclaimers, they may be deceived by the claims made in commercials. For example, viewers may believe that a product offers certain benefits without a disclaimer indicating the benefits may vary. In addition, it might affect a brand’s credibility, leading to mistrust and a bad reputation for the advertiser and the brand.”

    He adds, “To ensure ethical advertising practices, ASCI has tightened the guidelines for disclaimers. Advertisers will now need to make sure disclaimers are concise. In addition, there shouldn’t be more than one disclaimer in a single frame of an ad, and each disclaimer should only be two complete lines, staying on the screen for four seconds. With this increased duration and legibility of the disclaimers, customers will be more aware of a product’s offerings and may not be deceived.”

    To what extent unethical practices could be prevented with this particular set of guidelines?

    Hough brings out, “The placement of guidelines by ASCI can serve as a deterrent to unethical practices in advertising, but it is not a one-time solution. The advertising industry as a whole must be committed to ethical and responsible practices, and it is up to each individual to ensure that these guidelines are followed. While the guidelines set by ASCI provide a baseline for ethical advertising practices, it is up to each individual to continuously strive for responsible advertising practices.”

    “At Famous Innovations, we have a strict code of conduct and ethical standards, and we work closely with our clients to ensure that all advertisements we create adhere to these standards. We believe that it is our responsibility to promote ethical advertising practices and are committed to working with ASCI and other industry stakeholders to help ensure that the advertising industry operates in an ethical and responsible manner,” she states.

    However, Kinger of Schbang feels that there is no easy answer to this. “Will the new guidelines make life difficult for those who like to be unethically claim-ish? Absolutely. Will these guidelines ensure an absolute discontinuance of such practices? I am not sure. If disclaimers could change the world, we would have only a handful of smokers today. When the novelty of disclaimer 2.0 wears off, its effect will wear off too. I think information presented like information will be ignored like information, in due course of time.”

    Kunj of Thought Blurb Communications elucidates, “When it comes to financial services, addictive games and other products that are in sensitive zones, advertising is trying to reach the gambling gene in the consumer. Like investment tools, the level of risk the consumer wants to take is entirely up to them. There is little that the advertiser can do to modify it. Preventing the customer from taking excessive risk is not up to the advertising message. We are not psychiatrists. The most we can do is to let people know that market movements are not within the purview of the brand or the advertising. Conversely, there is little or no way to determine that a customer’s predilection to higher risk or addictive behavior was brought on by the advertising message.”

    “Yes, I believe there should be disclaimers simply stating the obvious, but I don’t see them changing consumer behavior one way or the other. In sum, an ad makes a claim to a consumer, a disclaimer tells the consumer to doubt the claim. Go figure!” he concludes.

  • Sreenivasan Jain quits NDTV

    Sreenivasan Jain quits NDTV

    Mumbai: Senior journalist Sreenivasan Jain announced his resignation from NDTV on Saturday. Jain had worked for the television network since 1995.

    “An amazing, nearly three-decade-long run at NDTV comes to an end today,” he wrote on Twitter.

    He added, “The decision to resign wasn’t easy, but…it is what it is. More later.”

    Jain, who has won several awards for his investigative reporting, was the host of the channel’s Reality Check and Truth vs Hype programs.

    His resignation followed the resignations of journalist Ravish Kumar and senior NDTV executives, including Group President Suparna Singh, in the months following the Adani Group’s takeover of the channel. The founders of NDTV  Prannoy Roy and Radhika Roy, left the company’s board of directors in December.

  • Mona Jain rejoins Zee Media

    Mona Jain rejoins Zee Media

    Mumbai: ABP News Network’s former chief revenue officer Mona Jain is rejoining Zee News as its chief revenue officer. Jain will be returning to the Zee Group for the second time. Jain spent six years as an ad sales executive vice president at Zee Entertainment.

    Enterprise Ltd. (ZEEL) before joining the ABP Network in November 2019.

    Jain is a veteran media professional with over 30 years of experience in media marketing and promotion.

    Before joining ZEEL, Jain was CEO of Vivaki Exchange for nearly nine years, and she was also the India head – strategic investments. She has also previously worked at Cheil Communications and Mudra Communications, where she held the positions of executive director and media director, respectively, and was in charge of establishing media for various brands. She began her career with Hindustan Thompson Associates (HTA) and has extensive experience in communications and marketing.

  • Mustafa Kapasi elevated to ECD at Scarecrow M&C Saatchi

    Mumbai: The creative agency led by ad veterans Manish Bhat and Raghu Bhat, Scarecrow M&C Saatchi has announced the elevation of Mustafa Kapasi to the role of executive creative director.

    Having spent seven years with Scarecrow M&C Saatchi, Kapasi possesses a rich experience of nearly 21 years of writing and leading a copy team.

    During his tenure with the agency, he has handled an eclectic mix of brands including Future Generali, Adani Gas, Mahindra Trakstar, Wagh Bakri, Business Standard, Vimal, Spykar and many more.

    Says Scarecrow M&C Saatchi co-founder Raghu Bhat, “Kapasi is an exceptional human being who thoroughly deserves this promotion. He has a unique combination of creativity, resilience and a hunger for learning that sets him apart. What I’m most impressed about is his ability to adapt and re-invent himself in the ever-changing digital landscape, which is a testament to his commitment to always get better, at whatever he does.”

    Says Scarecrow M&C Saatchi co-founder Manish Bhat, “Kapasi is a true leader who can inspire, motivate and improve his team members. He is a great listener and his life experience allows him to come up with great insights into our conversations. One of his best qualities is that he inspires trust and has a fantastic work ethic, which is very rare to find. I wish and hope that Mustafa will continue to blossom at Scarecrow and create some more great campaigns.”

    Kapasi expresses, “I am continually impressed by the agency’s focus on simplicity and creating disruptive yet effective campaigns. Even after eight years, this approach remains as refreshing as it was when I first joined. The culture of adapting and evolving while constantly pushing boundaries and avoiding comfort zones suits me quite well. I am grateful to Raghu and Manish for entrusting me with this opportunity. And a shout-out to my current and previous bunch of crazy creative colleagues who helped me make this possible.”

    Some of his most visible campaigns at Scarecrow M&C Saatchi include the award-winning Spykar Blue Film’s festival campaign, Varuna Pumps’ “Rukmi Bai,” “Republic Day film” for Ambuja Cements, the “LSF” campaign for Nahar Amrit Shakti, “MumBye” for Adhiraj Developers and the “Insight Out” campaign for Business Standard.

     

  • Asus India partners with TVF for a new web series ‘Followers’

    Asus India partners with TVF for a new web series ‘Followers’

    Mumbai: TVF Originals (The Viral Fever), in collaboration with Asus India, announced the launch of a new web series called Followers. The three-episode web series is centred around an aspiring creator’s quest to create content to garner more followers and seek more collaboration opportunities with brands, which leads her into the tricky ransom situation. The first episode of Followers was streamed on its millennial-focused YouTube channel, The Timeliners, on 20 January. The next two episodes, available in Hindi, will be released by the end of January 2023.

    As part of the partnership with the TVF, the web series seamlessly integrates Asus’ latest creators series laptops, including the Zenbook Pro 14 Duo OLED, ProArt Studiobook 16 OLED, and ROG Zephyrus G14. Asus’ creator series devices include cutting-edge technology and innovative designs that deliver unparalleled aesthetics, powerful performance, and a seamless user experience that helps multitask and enhances the productivity of content creators.

    The new web series features fresh leads from the OTT platforms, including Nupur Nagpal, Gagan Arora, and Rajat Dahiya. Gagan Arora and Nupur Nagpal were previously seen together in the blockbuster series College Romance.

    Asus India head of marketing Paramjeet Singh Mehta said, “We are elated to announce our association with TVF, India’s one of the most popular streaming platforms. With the increased internet penetration in urban as well as rural cities, the short-video format & social media platforms have seen significant growth, resulting in an exponential boom of content creators in the country. We at Asus always believe in providing innovative solutions to consumers. This web series effortlessly integrates Asus’ latest creators series of laptops, with  features that will benefit the creators to multitask and enhance productivity for content curation.”

    The Viral Fever president Vijay Koshy said, “Asus has introduced a complete range of OLED laptop series for all types of creators. They wanted to bring out the value this adds to creators in a story appealing to the creative community, which led to the birth of the show Followers. The world of digital influencers & creators has become a new landscape for youth, who are not just consuming a lot of digital content but even creating it actively. Many young people now choose this as their core profession. The mini-series portrays the struggles of one such upcoming creator, Sunaina, whose world collides with that of one desperate hotel employee, Sippy, who is trying to save his job. What follows is a comedy of errors. Asus fits into the story perfectly through the upcoming creators’ lens as it makes content creation a breeze for her.”

  • Wunderman Thompson launches report The Future 100: 2023

    Wunderman Thompson launches report The Future 100: 2023

    Mumbai: According to Wunderman Thompson’s latest report, ‘The Future 100: 2023’, an unrestrained, impactful, and powerful burst of energy is being injected into the year ahead, arming people with hope, joy, and happiness amid continuing uncertain times.

    The outlook, from the 9th edition of the annual essential trend almanac which offers a snapshot of the most compelling trends to keep on the radar for the year ahead, says that despite the on-going economic and environmental crisis, people are choosing joy.

    Coined by Wunderman Thompson Intelligence as the ‘Joyconomy’, the rise of trends such as ‘Elevated Expressionism’, ‘Feel-Good Feeds’, and ‘Ageless Play’, demonstrates the opportunities for brands who lean into consumers’ desire for inspiration and optimism, as people become are determined to show resilience, innovation, and joy in the face of continued hardship.

    Wunderman Thompson Intelligence global director Emma Chiu says, “In a year when all signs should point towards a bleak and chaotic outlook as a rocky economy, political instability, and environmental deterioration persist, we’ve found that there are endless opportunities for brands to tap into this consumer mindset as last year’s unbounded optimism shifts to an exuberant need for uplift and play.”

    “Community, creativity, and colour vibrantly paint 2023. The stress of the past years has put an emphasis on optimizing both the mind and body to empower an elevated self; the lightning pace of technology sees the evolution from building to living the metaverse (with every aspect of our lives being explored in this new frontier of customer experience); and people are demanding that brands use their influence to better society by putting accessibility and inclusion at the fore,” she continued.

    In addition to the rise of the ‘Joyconomy’, highlights include:

    – Culture – Indigenous Innovation: Indigenous Techniques are forming regenerative approaches to managing the environment

    – Tech & Metaverse – Techcessibility: Companies are redesigning their digital environments for greater accessibility

    – Travel & Hospitality – Temperate Travel: Rising temperatures will prompt travelers to seek out cooler destinations

    – Brands & Marketing – Amplifying Diverse Creators: Growing calls for authentic representation in advertising are driving a wave of brand collaborations with marginalised creative talents

    – Food & Drink – Cell-cultured Dishes: As cell-cultured food moves from lab to the grocery store, luxury dining may be the first beneficiary

    – Beauty – Resurrected Ingredients: Brands are bringing back extinct and forgotten sensory ingredients

    – Retail & Commerce – Crisis Retail: As the financial crisis bites, brands are stepping up to help their most vulnerable consumers

    – Luxury – Residence at Sea: The next-gen digital nomad is taking to the sea—in style

    – Health – Menopause Retreats: From HRT education to nutritional advice, retreats designed specifically for the menopause journey are on the rise

    – Work – Generation Flex: Employee expectations are rising. Despite economic woes, could the balance of power be tipping in their favour?

    Wunderman Thompson global chief marketing & growth officer Naomi Troni added, “The world is on the brink of recession, and it has never been more important for brands to be on top of the latest trends that will define consumer spending in the year ahead. With competition for share of mind and pocket becoming increasingly tough, The Future 100: 2023 reveals the essential, unexpected, and occasionally jaw-dropping insights that will help forward-thinking brands stay ahead.”

    ‘The Future 100: 2023’ from Wunderman Thompson’s futurism, research, and innovation unit, Wunderman Thompson Intelligence, has been compiled by a leading team of trend analysts, bringing together exclusive expert interviews and proprietary research.