Less clutter, more culture: A look at Ogilvy’s Pujo communication

Durga Puja, the largest cultural and religious festival in the East, is no longer just about pandals, idols, and dhaak. It’s also about the stories brands tell and how seamlessly they slip into the rituals, memories, and emotions of Bengal. At Ogilvy East, Ogilvy India’s language arm for advertising in the East, over the last decade, the mission has been to transform Pujo advertising from noise into culture. And like the last few years, this year, that mission found some of its most poignant expressions.

It began with the red and white PET Coca-Cola bottles and the concept of a traditional Bengali sari. Not just any sari, but the iconic Lal Paar. Woven from recycled red and white Coke bottles, spun into thread by Phulia’s master weavers, and block-printed with Coke’s iconic contour design, the sari was a union of two icons: Coke’s red and white and Bengal’s red and white. Launched at the 75th Ballygunge Cultural Pujo, it became an instant ritual companion, from Sindoor Khela to Instagram feeds. Sustainability met tradition, and the sari didn’t just trend, it became part of the festival itself.

Then came a toy truck that stole the show. Eveready Ultima created the world’s largest toy truck, powered entirely by Ultima AA batteries and certified by both Asia and India Book of Records. It carried the idol of Ma Durga to the Pujo of Vikramshila, an NGO for children on its back. While giant idols on giant trucks usually hog attention, this tiny battery-powered bahon lit up hearts and conversations.

“At Eveready, we’ve always believed in using the powerful platform of Durga Pujo for good – whether it was highlighting environmental concerns with the Light Idol or championing women’s safety through Siren Speakers in the past two years. This year, in partnership with Ogilvy, we’re focusing on pure joy. With Ultima Bahon, Asia’s largest toy truck, powered by our Eveready Ultima AA batteries, we’re bringing smiles and a memorable experience directly to the underprivileged children at Vikramshila. It’s about more than just a campaign; it’s about making a real difference in their lives,” said Anirban Banerjee, CEO, Eveready Industries India Ltd.

Asian Paints Sharad Samman, meanwhile, rolled in on another disappearing Kolkata icon - the yellow taxi. Forty of them became moving installations, each symbolising a decade of the festival. Gattu, the brand’s beloved mascot, made a comeback and took a musical ride through four decades of Sharad Samman in a film stitched with genres from each era.

“Festivals are reflections of their times, showing how societies evolve and express themselves. With Choltey Choltey Chollish, we wanted to mirror Kolkata’s journey and the way creativity, community and imagination have shaped Pujo across generations. The reimagined 40 yellow taxis bring this transformation to life across 4 decades. For Asian Paints, completing 40 years with Sharad Shamman is a way of honouring that creative spirit,” said Amit Syngle, MD & CEO, Asian Paints.

Nestlé Nangrow also broke ground with the Junior Dhunuchi — a blue, smoke-emitting toy that finally let children join the traditional Dhunuchi naach. For generations, kids had been told ‘No fire. No smoke. No Dhunuchi.’ Creativity flipped that script.

“East, and Kolkata has always been a bastion for our category, and we’re always looking to build culturally embedded narratives. The Dhunuchi activation was an endearing and out-of-the-box way of celebrating toddlerhood and parenting, elevated by the cultural significance of the Dhunuchi Naach,” said Mayank Raina, Marketing Head, Premium Infant and Toddler Nutrition, Nestlé.

Even Sunlight detergent found its space this year. In a festival where new clothes dominate, detergent usually sits out. Not this time. Sunlight launched a special photosensitive pack that revealed vibrant alpona motifs when exposed to sunlight, turning a functional product into a festive artifact.

Together, these ideas prove what Ogilvy East has chiselled for years: Pujo communication doesn’t need to shout. It doesn’t need giant gate arches or wallpaper “Shubho Sharodiya” wishes. What it needs is meaning. A sari woven from Coke bottles. A taxi carrying memories. A dhunuchi that lets kids dance. A detergent pack that celebrates sunlight.

“Pujo is a dynamic canvas, and for us at Ogilvy Kolkata, it’s an annual invitation to innovate. We’ve consistently pushed to transform brand presence from mere visibility into purposeful engagement. Our work is driven by the conviction that when creativity serves culture, it doesn’t just capture attention; it enriches the experience,” said Roshni Mohan, EVP, Ogilvy Mumbai & Office Leader, Ogilvy Kolkata.

Looking back at campaigns like Coke’s Happy to Queue, which turned standing in line into a refreshing experience, or Eveready’s Light Idol built from torch beams, a clear pattern emerges. Each time, the brief has been the same: Don’t interrupt Pujo,  become part of it.

As Sujoy Roy, Chief Creative Officer, Ogilvy North, who also leads the East initiative for Ogilvy, summed it up: “Durga Puja is the crowning jewel of Bengal’s culture. Advertising has no business being a noisy gate-crasher. It has to earn its invitation. Ogilvy East, keeps trying to make brands not just visible, but a meaningful part of the smiles, the stories, and the rituals that define this festival.”