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Tag: Spain

  • Creators boost Mipcom 2025 as television’s old guard opens the door

    Creators boost Mipcom 2025 as television’s old guard opens the door

    CANNES: The suits and the streamers are finally doing business. Mipcom 2024 pulled in 10,600 delegates—a modest uptick from last year’s 10,500—but the real story wasn’t in the numbers. It was in who showed up and what they were selling.

    Buyers rose to 3,340, up 100 from 2023, with Britain leading the pack, followed by the US , France, Germany, Turkey, Canada, Spain, Italy, Japan and South Korea. Yet the buzz on the Cannes market floor centred on a new breed of attendee: the creator economy, which Lucy Smith, RX France’s Mipcom and Mip London boss, called “the biggest shift in a generation for Mipcom.”

    YouTube planted its flag with a prominent presence, including a packed keynote featuring Pedro Pina, the platform’s EMEA chief, media cartographer Evan Shapiro and BBC Studios’ Jasmine Dawson. The session offered what Smith described as the “definitive playbook on partnerships,” demonstrating how traditional media can tap new audiences and build fandoms through collaboration.

    The convergence went beyond talk. Deals between legacy players and digital creators flowed throughout the week. “It feels like a tipping point for the industry,” Smith told reporters at a wrap press conference. “The relationship between the creator and mainstream economies isn’t binary. The opportunities come from collaboration, not from working in isolation.”

    Mipcom’s pitch to creators was simple: meet everyone worth meeting in one place, at one time, and figure out who can help build new business models. The market staged its first brand-funded content summit, BrandStorytelling, bringing agencies and brands face-to-face with the global production and distribution world. Early feedback suggests it’s here to stay.

    Traditional sales and distribution—”the engine of MIPCOM,” as Smith put it—roared back to life. Every major American studio turned up. Three big international advance screenings drew talent from around the world. Rights deals showed fresh flexibility, with windowing making a comeback, albeit in more complex forms than before.

    The market floor hosted 350 exhibitors, including 88 newcomers such as YouTube. Yet not everything pointed upward: MIPJunior attendance slipped to 940 from 1,000, reflecting ongoing headwinds in children’s programming.

    Smith struck a bullish note. “From change comes opportunity. The industry is resilient, it regenerates. The fact that this definitive global market has been held here every year for the past four decades is testament to that.”

    Next year’s edition runs from 12 to 15  October. The creators will be back. So will everyone else.

  • Digital i report: Netflix’s ad-tier viewing soars by nearly a third across Europe

    Digital i report: Netflix’s ad-tier viewing soars by nearly a third across Europe

    MUMBAI: Here’s some data that validates what Indian streamers have known all along and have been following for quite some time. If you want masses to consume you, then give away content at a lower price or for free – especially entertainment shows – but populate it with ads. Viewers don’t seem to mind it all.

    Global streaming media measurement firm Digital i conducted a study between November 2024 and April 2025 which revealed that viewing time on Netflix’s ‘Standard with Ads’ plan jumped 32 per cent across five key west European markets, signalling robust growth for the streaming giant’s advertising business. The Standards with Ads plan is priced at Euro 6.99 per month as against the standard plan which has a sticker price of Euro 13.99 and the premium one which costs Euro 19.99 This Standard with Ads package offers ad-supported streaming on two devices simultaneously in Full HD (1080p) and allows for downloads

    Digital i’s study  revealed  a collective rise of 152.7 million hours in the UK, France, Italy, Germany, and Spain. Total viewing hours on the ad-supported tier surged from 470.2 million in November 2024 to 622.9 million by April 2025.

    Germany led the charge with a 44 per cent increase, as hours viewed on the ‘Standard with Ads’ plan climbed from 81.3 million to 116.9 million. Spain and the UK each saw a 34 per cent uplift, with viewing rising from 59.9 million to 80.2 million and 150.7 million to 202.6 million hours respectively. France experienced a 26 per cent rise (from 129.1 million to 163.2 million), while Italy registered a 22 per cent gain (from 49.1 million to 60 million).

    Digital i chief analytics officer Matt Ross hailed the figures. “Netflix’s ad-supported tier has experienced strong growth in the past six months, and the increased take up has led to increased viewership across all regions,” he remarked. “This is good news for Netflix’s ad business which now boasts strong levels of reach combined with high levels of viewership.”

  • Spain’s pirate party: nearly half of OTT viewers sail the high seas of illegal streaming

    Spain’s pirate party: nearly half of OTT viewers sail the high seas of illegal streaming

    MUMBAI:  While the Motion Pictures Association (MPA)  loves pointing fingers at India for its piracy woes, they may want to swivel their gaze towards Europe. New data from consultancy firm GECA reveals that a staggering 47.4 per cent of OTT viewers in Spain are tucking into pirated content—no paid subscription in sight.

    The pirate’s treasure chest? Movies top the loot list at 32.8 per cent, followed closely by TV series (30.6 per cent) and sports (18.4 per cent).

    The biggest buccaneers are aged 18–24, followed by the slightly older but no less rebellious 25–34 crew. Even the silver surfers are getting their share—piracy among the 55+ age group has jumped 4.5 points, now clocking in at 32.6 per cent.

    Notably, piracy among 25–34-year-olds surged 5.2 points, hinting at an underground boom even among the prime-income streamers. Whether it’s a protest against high prices or just a thrill of the steal, one thing’s clear—Spain’s illegal streaming scene is alive, well, and growing.

  • Honda drives forward as Takashi Nakajima takes the wheel at HCIL

    Honda drives forward as Takashi Nakajima takes the wheel at HCIL

    MUMBAI: Honda Cars India Ltd (HCIL) is shifting gears at the top, with Takashi Nakajima set to take over as president & CEO from 1 April 2025. Nakajima, a Honda veteran with over 30 years of global experience, succeeds Takuya Tsumura, who will return to Japan after an impactful three-year stint at the helm of HCIL.

    During his tenure in India, Tsumura bolstered Honda’s premium brand positioning, enhanced customer-centric solutions, and steered the company toward profitable growth. His leadership saw the launch of several landmark models, including the Honda City e:HEV, India’s first mainstream hybrid model; the Honda Elevate, the brand’s new global SUV; and the 3rd Generation Amaze, a refreshed take on Honda’s popular compact sedan.  

    Under his watch, Honda’s export operations expanded, with the Made-in-India elevate hitting Japanese roads. Tsumura also focused on integrated marketing campaigns to engage a diverse audience, while implementing efficiency-driven initiatives to enhance both customer experience and dealer profitability.

    Bringing decades of expertise from markets including Japan, China, Spain, Czech Republic, and Russia, Nakajima is no stranger to strategic growth. His impressive career spans business planning, product strategy, marketing, and sales promotion, with a recent role as president of Honda Motor Russia. He also led product planning and corporate communications for Honda’s domestic automobile business in Japan.

    With Honda gearing up for its first Battery Electric Vehicle (BEV) launch in India, Nakajima’s entry signals a bold new chapter in Honda’s journey. As he prepares to take the wheel, all eyes are on how he will steer innovation, expansion, and electrification in one of the world’s most dynamic auto markets.

    As the industry shifts towards sustainable mobility, Nakajima’s leadership promises to accelerate Honda’s evolution in India. With a strong foundation laid by Tsumura, the road ahead looks primed for bigger ambitions, smarter technology, and an electrifying future.

  • Mango Turkish-origin billionaire founder Isak Andic dies following hiking accident

    Mango Turkish-origin billionaire founder Isak Andic dies following hiking accident

    MUMBAI: The Mango high street fashion  brand has lost its founder Isak Andic. The 71 year old Turkish-born entrepreneur, who was an avid mountaineer and hiker, passed on over the weekend (Saturday)  doing what he loved dong the most exploring mountains.

    According to reports in the Spanish media, he was on a family outing in the Montserrat mountains around 40 km northwest of Barcelona when he slipped in the Collbató saltpetre caves at midday and fell around 150 meters to his death. 

    Andic was born in Istanbul in 1953 and his family moved to Spain in 1969. His fascination with the denim fabric led him to create a brand Isak Jeans in the early eighties. He opened several stories in Barcelona and Madrid. They were then renamed as Mango in 1984 and grew the enterprise along with his brother Nahman. 

    Today, Mango has consolidated its position as one of the leading international fashion groups, with a major presence in more than 120 markets, close to 2,800 stores and 15,500 employees worldwide. The company aims to exceed 2,800 stores by the end of 2024 and to reach more than 3,000 stores worldwide by 2026. This growth will enable it to exceed one million square metres of retail space, highlighting markets such as Spain, France, Italy, Germany, the United Kingdom, Poland, India, Canada and the United States. Mango has just a single brand and it does not own any factory, outsourcing its production mainly to lower-cost Turkey and Asia.

    It registered a turnover of 3.1 billion euros in 2023  growing more than 15 per cent over 2022.  Almost 80 per cent of its sales are now generated outside of Spain. Forbes estimated Andic’s net worth to be $4.5 billion  (£3.6 billion). He was the non-executive chairman of the group at the time of his passing. 

    Paying tribute to Andic, Mango group CEO Toni Ruiz said: “Isak has been an example for all of us. He dedicated his life to Mango, leaving an indelible mark thanks to his strategic vision, his inspiring leadership and his unwavering commitment to values that he himself imbued in our company. His legacy reflects the achievements of a business project marked by success, and also by his human quality, his proximity and the care and affection that he always had and at all times conveyed to the entire organization. His departure leaves a huge void but all of us are, in some way, his legacy and the testimony of his achievements.”

  • Smart City Expo Barcelona: Indian pavilion flagged off

    Smart City Expo Barcelona: Indian pavilion flagged off

    BARCELONA, SPAIN: The Indian pavilion at Smart City Expo 2024 in Barcelona’s famed Fira de Barcelona Gran Via got off to a great start with the Indian ambassador to Spain Dinesh K  Patanaik, Indian Consulate counsel general Inbasekar Sundaramurthi and ministry of housing and urban affairs  (Mohua) joint secretary Rahul Kapoor flagging it off.

     

    The pavilion has been put up by Mohua which has brought in a large delegation of principal secretaries (Maharashtra and Madhya Pradesh), commissioners, smart city CEOs  and deputy CEOs, of various Indian cities to expose them to the rapid developments that are taking place in the growth of smart cities in Europe and various parts of the globe.

    “We have made great progress as far as our selected 100 smart cities are concerned,” said Kapoor at the opening of the pavilion.  “Almost Rs 1.7 lakh crore worth 7,800 plus projects. We have completed 7252 of them or 90 per cent worth Rs 1,45,882 crore and another 790  are ongoing worth Rs 18,875 crore. We are very happy with the outcomes.”

    The Indian officials were seen going around the various exhibition booths from all over  the world showcasing technologies for e-bikes, charging, data analytics, ride sharing, smart city consulting among many others.

    The Smart City Expo 2024 ends on 7 November. 
     

  • Disney+’s big bet: A daily telenovela on OTT globally

    Disney+’s big bet: A daily telenovela on OTT globally

    MUMBAI: 11 October marked a new way of program scheduling for Disney+. The streamer dropped five episodes of drama series Return to Las Sabinas on its service  in Spain and all over the world  (in India, viewers can watch it on Disney+Hotstar ) and on Hulu in the US. So what’s new about this? 

    What is new about Return to Las Sabinas is the gutsy decision that Disney+ Spain vice-president original production Sofía Fábregas  has taken. Episodes of the telenovela drama are being dropped  daily weekday morning for the next 65 days for the 70 episode series. (For diehard melodrama viewers: in India daily episodes are being introduced Monday to Friday at 12:30 pm with English subtitles .)

    While that is pretty déjà vu for television viewers and programmers in India, for the Spaniards to use the television daily drop routine on an OTT platform is pretty daring. 

    “It’s yet to be confirmed if it’s going to be a success or not, but Disney was willing to take the risk to be the first with something that was both established, but because nobody had tried it [in streaming], also very new,” Fábregas told Deadline.  “We wanted to take something that the audience was accustomed to and put it in an unexpected place.”

    But with Fábregas confessing that it is a big risk, she’s taken steps to at least reduce it by hiring the best to put their might behind the production as well as innovating on production  values. For one, she hired  Banijay Iberia’s Diagonal production company to do the job. Then she roped in  experienced  show runner and creator Eulàlia Carillo  as its executive producer while bringing on veteran Jordi Frades  to helm the show. 

    Instead of the tacky indoor studio sets that telenovelas are normally shot in, she decided to film it on natural outdoor and indoor locations in and around Barcelona  to make it look premium. Each 45 minute episode was shot over two and a half days with two cameras giving it a cinematic look instead of the one day given to normal daily dramas. Post production was also allocated twice the amount that normal dramas get to make the output on screen look snazzy. Writing was given two and a half  years so that the right hook points, cliff hangers could stand out and bring viewers back daily. 

    The series stars top Latino actors like Celia Freijeiro, Andrés Velencoso, Olivia Molina, Natalia Sánchez, Nancho Novo, and María Casali. 

    The story follows two sisters, Gracia and Paloma, who return to their childhood home in Las Sabina to care for their father. Gracia reconnects with her first love, Miguel, who is now engaged to Ester. However, his brother Tano, is still in love with her and refuses to back down. Paloma takes over the family lands and clashes with landowner Paca Utrera, who has a nefarious plan for the town. In the meantime, the girl’s father, Emilio, attempts to reconcile with his daughters, but a hidden secret complicates his efforts. 

    Sounds familiar? Like many other telenovelas or drama series? 

    Frades told Deadline that the idea is not to have a very different plot. “We want the people to find love, passion, drama, comedy and everything they like in a daily show, but maybe with a little upgrade.”

    Even Carillo accepts that. Speaking to Deadline he said:  “It starts, as any other fiction does, with a question: What would you be willing to forgive? The series is about forgiveness and second chances. It’s also about first love and how it impacts on our lives, and also new loves and how we find love even when we don’t expect it.”

    Fábregas  told Deadline that she’s going by her gut. She said:  “I would say it’s a bet, and let’s see if we win,” she noted. “It is a bet because we haven’t done it yet, not us or not the other streamers. We’re programming against other streamers. Could it change the rules? Potentially, yes. Maybe in five years all the streamers will have programming like this.”

    Or could it happen earlier?

  • Mipcom Cannes 2024 to have a Spanish flavour

    Mipcom Cannes 2024 to have a Spanish flavour

    MUMBAI: Bienvenido! Bienvenida!  Meaning welcome in Spanish. 

    Trade visitors to Mipcom between 21 and 24 October 2024 will hear this expression all the time at the world’s largest international co-production and entertainment content market in in Cannes which is in its fortieth edition. With Spain designated as the country of honour, that’s something that’s bound to happen.

    Today, Mipcom Cannes announced the comprehensive programme that’s been put in place to celebrate the land of the flamenco. The prominent series of events at the annual flagship entertainment content market spans keynotes, premieres, panels and networking events to both celebrate Spain’s impact on television globally and promote further international collaboration. The programme will have a particular focus on the country’s creativity and talent from behind and in front of the camera, echoing the themes of Audiovisual from Spain’s recently launched campaign Spain, Where Talent Ignites.

    The country of honour recognition comes with Spain’s content sector having experienced significant growth in recent years as a major international production hub, and as a proven provider of quality content to global audiences that consistently ranks amongst the most viewed worldwide.  

    Spain currently sits second only to the UK in scripted TV commissions in Europe from global streaming platforms1. Meanwhile, Spain’s entertainment sector, which includes OTT video services such as Netflix, Amazon, HBO, and Disney+, has been experiencing remarkable growth. According to the 2024 Spain AVS Hub report2, the sector surged by an impressive 408 per cent between 2018 and 2022, with a projected growth of 31.6 per cent from 2023 to 2027.

    The growth since 2021 has been driven by a major three-year public investment initiative of 1.6 billion euros for the film and television sector, led by the ministry for digital transformation & civil service. Icex Spain Trade & Investment has played an active role in the internationalization of the Spanish audiovisual industry under the brand Audiovisual From Spain.
     

    An increased presence is expected in Cannes in October  from the Spanish creative sector with a rise of over 50 per cent in Spanish companies accredited year on year to date. Mipcom 2023 was attended by 11,000 content executives  and government officials from 100 countries.

    The country Of honour 2024 programme highlights include: 

    Media Mastermind Keynote – Spain- Where Talent Ignites: A fireside conversation with multiple award-winning Spanish director and showrunner J.A Bayona, (A Monster Calls, Society of the Snow) and creative producer Diego Betancor (Elite, Todas las veces que nos enamoramos, Respira).

    In addition to exploring trends and generational shifts in film making with the pair, the session will feature insights from the cornerstone of the new promotional campaign for the country’s creative sector Spain, Where Talent Ignites – which includes an innovative fashion-led short film, The Cause of the Accident That Set the Fire. An unprecedented commission from a public institution, the ambitious high-end feature celebrates the creative process boasting cameos and contributions from multiple high-profile Spanish creatives including Bayona. 
    The keynote session will be staged 16:00 – 16:30 on Tuesday 22 October.   
     

    World premier screening: Ena. La Reina Victoria Eugenia. Jury-selected from multiple submissions, RTVE’s highly anticipated royal period drama chronicling the era-defining life of Victoria Eugenia of Battenberg (qeen of Spain by marriage to Alfonso XIII and grand daughter to Great Britain’s Queen Victoria) will premiere on the market’s first night on Monday 21 October from 18.00. Staged in the world-famous Grand Auditorium, main actors Kimberley Tell and Joan Amargós and executive producer Luis Hernández will be present in Cannes. The ambitious all-female-directed piece (6 x 60’) is produced by RTVE in collaboration with Ena La Serie AIE, La Cometa TV and Zona App. It is set to air on RTVE’s channel LA1 in Spain with global distribution rights handled by the largest public audiovisual group in Spain, RTVE.

    Producers Hub Panel: Igniting Global Hits- The Ultimate Audiovisual Hub: A special session on Tuesday 22 October at 09:45 – 10:30 in the gathering point at the market for producers and commissioners will focus on the breadth of location and co-production opportunities within the Spanish sector, told through the experience of filmmakers and recent productions including Marc Dujardin, producer, Le Collectif 64 (Zorro), Nina Hernández, content Director, Portocabo (Weiss & Morales) and Susanne Frank, director drama, ZDF Studios (Stories to Stay Awake). 

     In addition, two of MIP’s signature events will have a Spanish flavour this year with a themed opening night party (Monday 21 October from 19.00) encouraging further networking, and a dedicated separate Spanish edition of the Fresh TV content showcase curated and hosted by Virginia Mouseler, CEO of The WIT International Services (Tuesday October 22 at 14.30).

     “Talent exists in every country, but not all value it equally. Our goal in positioning the Spanish audiovisual sector on the international stage is to elevate talent to the highest level, both through the activities we carry out at major festivals and markets worldwide and with our new campaign, ‘Spain, Where Talent Ignites.’ said Icex Spain Trade &  Investment CEO Elisa Carbonell.

     “Everybody  loves Spain and we’re planning a gran fiesta in celebration of Spanish content” said Mipcom Cannes and Mip London director Lucy Smith. “A cultural powerhouse, and a major European audiovisual hub, the Spanish creative sector has never been so prolific, or their output enjoyed by so many, globally. It’s been an honour in itself for us to curate this special programme in celebration of one of the world’s most formidable production countries.”

    The country of honour forms part of a week-long Mipcom Cannes conference programme which helps define the TV industry year through keynotes from leading global players and thought leaders, screenings of highly anticipated series, future facing summits and exclusive insight presentations. Past countries of honour have included Japan, Turkey, Mexico, Argentina, South Korea and most recently China in 2023. 

  • Video brands’ India ad spends to rise 19% by 2022: Zenith Report

    Video brands’ India ad spends to rise 19% by 2022: Zenith Report

    KOLKATA: There is no denying that the advertising market has been in the doldrums for most of the year, owing to the Covid2019 pandemic. However, video entertainment ad spends are projected to shrink just 0.2 per cent in 2020 across ten key markets, according to the recent Zenith Business Intelligence – Video Entertainment report.

    Video entertainment advertising will far outperform the ad market as a whole, which will drop by 8.7 per cent across these same markets. Moreover, India and Spain will be top of the table when it comes to ad-ex growth through 2022.

    The report concluded that the resilience of video entertainment ad spend in the face of a global pandemic and subsequent recession is the result of increased demand from consumers, increased supply of content, and intense competition among video brands for viewers.

    Faced with spending much more time at home, consumers have turned to video content to keep themselves informed and entertained. In France, for example, TV viewing time was 30 per cent higher year-on-year in April and was still 11 per cent higher in August.

    Investment in advertising by online video brands has far outpaced traditional television recently. In the US, online video brands increased their ad budgets by 142 per cent in 2019, while television brands increased their spending by 15 per cent.

    In the UK, ad spend by online video platforms increased by 79 per cent, while ad spend by traditional television grew 34 per cent. In both markets, television broadcasters and pay-TV platforms pushed up spending temporarily in response to their new competition, but this will prove unsustainable in the face of ongoing decline in their revenues, both Covid2019-related and structural.

    In contrast, online video platforms have continued to raise their budgets to exploit the current window of opportunity to build a loyal customer base. Each platform is spending heavily to ensure that they are top of mind while consumers consider which ones to commit to for the long term.

    “Consumers are now faced with a vast and confusing array of programmes and films vying for their attention,” Zenith global managing director Christian Lee said . “Video brands need to cut through this complexity and give consumers entertainment that matches their personal preferences with minimum fuss. Brands that provide compelling experiences and act as more than just repositories of content will be best positioned for growth in the long term.”

    Here are a few highlights from the report:

    Lockdown has made digital even more vital to video brands

    Video entertainment brands spend more on digital advertising, out-of-home and cinema than the average brand. Their reliance on out-of-home and cinema has posed a particular challenge this year, as they have been forced to compensate for lost audiences from empty cities and closed cinemas. This means even more digital spending, which is forecast to rise from 53 per cent of total video entertainment spend in 2019 to 57 per cent in 2020.

    Video entertainment ad spend to exceed 2019 peak by 1.2 per cent in 2022

    While video entertainment is expected to substantially outperform the market in 2020, Zenith forecasts it to underperform over the next two years, with no growth in 2021 and 1.3 per cent growth in 2022. Online video platforms will have less capacity to raise budgets after spending heavily in 2020, and traditional TV broadcasters will be weighed down by shrinking revenues from TV advertising and pay-TV subscriptions. Nevertheless, Zenith expects video entertainment ad spend to be 1.2 per cent higher in 2022 than it was in 2019, while overall advertising will still be 0.6 per cent below its 2019 peak.

    Spain and India to lead growth in video entertainment ad spend

    The stable headline figures for growth hide considerable variation between the 10 markets. In 2022, video entertainment brands are forecast to spend 27 per cent more than in 2019 in Spain, and 19 per cent more in India. Meanwhile, spending is expected to decline by 5 per cent in the US and 7 per cent in Australia over the same period.

    Spain and India both have fast-growing appetites for video-on-demand, especially on smartphones in India. India’s television ad market also enjoys rapid long-term growth – unlike in most Western countries – and should bounce back quickly in 2021.

    The US is the only market where video entertainment ad spend is expected to continue to decline after 2020, as rising online revenues fail to compensate for the ongoing declines in TV advertising and pay-TV subscriptions, reducing available ad budgets. The video industry is healthier in Australia, but here the ad market as a whole is retrenching after the sudden halt to Australia’s 29 years of unbroken economic growth, so video brands can maintain a share of voice without raising budgets.

  • Spanish food major, Ebro Foods appoints Publicis India to manage its Indian creative biz

    Spanish food major, Ebro Foods appoints Publicis India to manage its Indian creative biz

    NEW DELHI: Ebro India, the Indian arm of the Spanish food major, has appointed Publicis India as its creative agency. The account was won after a multi-agency pitch and will be managed by the New Delhi office of Publicis India. 

    The agency has been mandated to create and execute forward-thinking communication for the food major in India. To begin with, it would work towards evolving a robust communication strategy for its leading pasta brand, Panzani. The brand would be launching several products under the Panzani umbrella in India.  

    Ebro Foods is the world's largest trader/miller of rice and the second biggest producer of pasta. Headquartered in Spain, it has commercial and industrial presence in more than 80 countries in Europe, America, Asia and Africa through its network of subsidiaries and brands.
    Commenting on the appointment, JP Laborde, MD, Ebro India said: “Panzani is the world’s second largest brand of Pasta having its presence in more than 50 countries. It is getting inside Indian market with a whole range of pasta products with distinct product features, which will cut across all SECs. We are excited to put out our inaugural communication and create a high recall for the brand in India.”
    Puneet Kapoor, Marketing Head, Ebro India added: “We were looking for a creative strategic partner on board who could help us strategize the brand communication and for that a multi-agency pitch was called wherein five agencies were invited and two agencies were shortlisted for the second round. Publicis came with an in-depth understanding of the brand’s strategic requirements and a contemporary and creatively cultivated approach to deliver the same.” 

    On winning the mandate, Sridharan Iyer, EVP & Head of Office, Publicis India said: “As more and more Indians recreate the experience of western cuisine at home today, we are extremely thrilled to partner Ebro Foods – one of the world’s largest pasta company, in the quest to make Panzani the most favoured pasta brand in India.”