Incredible India: Evolution of Brand India: Permissions@hbsp - Harvard.edu or 617.783.7860

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INCREDIBLE INDIA: EVOLUTION OF BRAND INDIA1
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Dr. Tripti Ghosh Sharma, Akshay Kumar, Samriddhee Khanna, Aditi Gupta, Karthik Govindarajan and Arpit Agarwal wrote this case
solely to provide material for class discussion. The authors do not intend to illustrate either effective or ineffective handling of a
managerial situation. The authors may have disguised certain names and other identifying information to protect confidentiality.
This publication may not be transmitted, photocopied, digitized or otherwise reproduced in any form or by any means without the
permission of the copyright holder. Reproduction of this material is not covered under authorization by any reproduction rights
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organization. To order copies or request permission to reproduce materials, contact Ivey Publishing, Ivey Business School, Western
University, London, Ontario, Canada, N6G 0N1; (t) 519.661.3208; (e) cases@ivey.ca; www.iveycases.com.
Copyright © 2014, Richard Ivey School of Business Foundation Version: 2014-07-30
December 2012 was a momentous time for the Indian tourism ministry. Dr K. Chiranjeevi, minister for
State for Tourism India, accepted three awards at the World Travel Awards 2012: Asia’s Leading
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Destination, Asia’s Leading Tourist Attraction and Asia’s Leading Tourism Board. These awards were
nicknamed the “Oscars of the Travel Industry” and winning them was the culmination of a decade’s effort
on the “Incredible India” campaign (“Incredible India”), which had led to a drastic increase in the flow of
foreign tourists to India.
However, everyone at the ministry, including Chiranjeevi, aimed to increase the international visitor
figures by 12 per cent annually until 20162. They realized that for India to reach its new ambitious goal,
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the time had come for a change in the campaign. While “Incredible India” had been successful in
attracting foreign tourists to India in the last decade, it was time to launch the second phase to attract more
tourists and thereby achieve the targeted growth in the coming years.3
Now, in 2013, uncertainties had multiplied. India had gained more familiarity among and acceptance
from foreign tourists of diverse backgrounds, who now expected more differentiation in the choices
available. The respective tourism departments of several Indian states and union territories began to adopt
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their own taglines (see Exhibit 1). It was quite clear that they were now looking to brand each state on its
own. Several state tourism development corporations launched websites targeted at foreign tourists with
translations available in various languages such as French, German, Spanish, Japanese and Chinese. The
problem was to evaluate whether there had been any advantage in branding India as a monolithic
structure. What kind of brand structures and brand relationship structures and hierarchies were possible?
These were just some of the questions that were plaguing “Incredible India.”
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1
This case has been written on the basis of published sources only. Consequently, the interpretation and perspectives
presented in this case are not necessarily those of Tourism India or any of its employees.
2
www.breakingtravelnews.com/news/article/new-advertising-campaign-from-incredible-india-launches-at-world-travel-mar,
accessed May 15, 2014.
3
www.travelbizmonitor.com/india-tourism-wins-accolades-at-wtm-awards-18374, accessed May 15, 2014.
This document is authorized for educator review use only by CHANDAN THAKUR, Universal Business School (UBS) until Oct 2020. Copying or posting is an infringement of copyright.
Permissions@hbsp.harvard.edu or 617.783.7860
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FOUNDATION OF THE INCREDIBLE INDIA CAMPAIGN
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“Incredible India” was the brainchild of Amitabh Kant in 2002 and was conceived in conjunction with the
advertising giant Ogilvy & Mather, which was based in Delhi. Kant was then the joint secretary of the
Union Ministry of Tourism. He could see the potential growth, earnings and benefits for the country from
foreign tourism. He realized that India could leverage its diversity, history and culture to promote itself.
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In the words of Piyush Pandey, executive chairman of Ogilvy & Mather, “India is a continent in a
country. That is what makes it incredible.”4 The Rough Guide to India described this incredible diversity
in the following words:
“Unity in Diversity” was the slogan chosen when India celebrated fifty years of Independence in
1997, a declaration replete with as much optimism as pride. Stretching from the frozen barrier of
the Himalayas to the tropical greenery of Kerala, and from the sacred Ganges to the sands of the
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Thar Desert, the country’s boundaries encompass incomparable variety. Walk the streets of any
Indian city and you’ll rub shoulders with representatives of several of the world’s great faiths, a
multitude of castes and outcastes, fair-skinned, turbaned Punjabis and dark-skinned Tamils.
You’ll also encounter temple rituals that have been performed since the time of the Egyptian
Pharaohs, onion-domed mosques erected centuries before the Taj Mahal was ever dreamt of, and
quirky echoes of the British Raj on virtually every corner.5
It was therefore evident that Kant’s branding challenge was to frame a powerful proposition that would
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encompass the diversified culture of India. His next step was to build a strategy that could generate
momentum and spur India’s growth in the tourism sector. For this, he had outlined a strategy based on:
 A well-defined and unique brand personality,

 The right positioning concentrated in theme-based product development,
 Consistent and appropriate advertising and promotion and
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 Careful brand guardianship.6
Until 2001, India’s efforts to promote tourism weren’t focused. For example, the marketing expenses of
India’s Ministry of Tourism were divided among its 18 offices abroad, each of which had its own separate
advertising agency. “Spiritual India”, “Cultural India”, “Unbelievable India”, etc. – each office branded
the country differently.”7 It was inconsistent and nothing less than incoherent.
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Perturbed, but with a view to correct the faults, Kant identified the lack of consistency as a barrier to
India’s success in the tourism market. The plans to improve India as a foreign tourist destination had
barely been drawn when a further setback occurred: the 9/11 attacks in the United States. Soon after, the
Indian Parliament was also attacked by terrorists. This resulted in travellers from around the world
becoming cautious and wary of international tourism, including travel to India (see Exhibit 2). Rather
than being disheartened, the Indian Ministry of Tourism took this as a challenge to attract tourists in those
difficult times.
Most states had some form of a tourist campaign, some successful, some not very successful; there was
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no unified concentrated effort to attract tourists to India as a whole. Kant proposed that India should be
4
www.brandingindia.in/accolades.html, accessed November 15, 2013.
5
David Abram, Nick Edwards, Mike Ford, Daniel Jacobs, Devdan Sen, Gavin Thomas and Beth Wooldridge, “The Rough
Guide to India,” Rough Guides, 4th Edition, Delhi, November 29, 2001, p. 6.
6
Amitabh Kant, Champion Campaign, 7th ed., DNA Sunday, Mumbai, May, 2006.
7
www.dnaindia.com/lifestyle/review-incredible-india-when-public-sector-advertising-turned-savvy-1261349, accessed May
15, 2014.
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the mother brand with states establishing their own identities and emerging as sub-brands. Thus began the
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journey to build a new brand India, which led to the genesis of “Incredible India.”
Together with V. Sunil, creative director at Ogilvy & Mather, Kant rolled out “Incredible India” in
October 2002.8 They used an exclamation mark to denote the “I” in India to indicate and reinforce the
pleasant surprise a tourist to the country would experience when faced with the sheer pleasures India
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offered.9
EVOLUTION OF “INCREDIBLE INDIA”
Tourism marketing in India needed to be updated to educate the world about the rich experiences the
country could offer. A fresh campaign highlighting Indian culture and history was launched in key
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markets. Powerful television commercials were rolled out on many television channels such as CNN, the
BBC and the Discovery Channel; these were followed by a print campaign with advertisements appearing
in Condé Nast Traveler, Vogue, Tatler, Financial Times and leading in-flight magazines, and were further
supplemented by aggressive online promotions. In a short span of time, it became evident that the formula
worked; the campaign catapulted India to the peak of high-end tourist destinations, as a result bringing
about a growth of 16 per cent in the number of foreign visitors.
The spurt in the figures was encouraging, and to capitalize on the already increasing numbers, the
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campaign focused on the idea of “spiritual tourism” in 2003. All the marketing efforts were channelled to
woo travellers towards a journey of self-discovery with various stopovers featuring yoga, Ayurveda and
meditation. The success of the campaign was evident from a 28.8 per cent rise in tourist traffic, and India
secured the premier rank in the Travel & Leisure readers’ survey.10 Condé Nast Traveler placed India
among its top 10 destinations. Sarah Miller, the editor, said:
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India’s results are very exciting and show the country’s increasing popularity amongst
sophisticated travellers. It also reflects very positively on the individuals involved in promoting
India as a premium tourist destination. 11
It was recognized early on that the campaign had to mature with time in order to stay relevant and
successful. So, in 2006, a transformation in the communication message and tone was proposed. India
was making its mark on the world stage and was recognized as one of the fastest growing economies.
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This was a bold new India that was confidently asserting itself globally. In tune with this outlook, the
print and outdoor advertisements proposed to combine impressive images with self-assured messages.
Headlines such as “Not all Indians are hospitable, polite and vegetarian” — for a print advertisement
portraying the Royal Bengal tiger, the undisputed king of the wild — only substantiated the proposition
and showcased a more poised, optimistic and extroverted nation.12
Soon, it was time to take the advertising blitz abroad. In March 2007, Sunil and Kant extended the
campaign to the Internationale Tourismus Bourse (ITB) Berlin, widely acknowledged as the largest
tourism show in the world. This was the opportunity they leveraged to free the campaign from restricted
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media vehicles. Covering Berlin with colourful billboards, bright art and three-dimensional installations,
8
www.incredibleindiacampaign.com/, accessed November 15, 2013.
9
Ibid.
10
http://incredibleindiacampaign.com/campaign2004.html, accessed November 15, 2013.
11
Ibid.
12
Ibid.
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the campaign was launched to offer a door-to-door experience of “Incredible India.” Some of the specifics
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of the event included the following:
 Folk music concerts by 75 artists from different Indian states.

 An extravagant 29 course meal by the most reputable chefs presenting India’s finest cuisine.
 An ornate scooter rickshaw showcasing “India version 2.0” — a larger-than-life representation of a
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common Indian vehicle with hi-tech abilities. The vehicle accelerated through an information
superhighway — a metaphor for India’s growing gross domestic product (GDP).
 A striking “Wool Wall” created with artistically stacked spools of colourful wool enclosed in a glass
chamber. Against this glass cube was written “Incredible India” in white.
 An exhibition by India’s most prolific photographers of the country’s ethnic groups, presented by
National Geographic.
 A week-long India Pavilion that included presentations, conferences, craft displays, Ayurveda
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demonstrations, astrology sessions, classical dances, folk music, tea-tasting, bangle stalls, henna and a
mock wedding.
 Brochures, flyers and posters emphasizing on India’s prospect as the fastest growing nation.
The statistics tell the story of the pervasiveness of the ITB: the overall area covered was 150,000 square
metres; 180 countries participated; and the number of exhibitors totalled 10,923, which included 7,215
foreign exhibitors and 3,708 German exhibitors. The total number of visitors was 177,154 of which
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108,735 were trade visitors.13
Reaching a new level of superiority in India’s branding strategy, the “Incredible India” campaign at ITB
Berlin stunned the international media and trade, according to some press releases such as the following:
ITB Berlin 2007, the leading international meeting of travel industry sets new records. [There
were] 15 per cent more trade visitors with an increasingly international dimension. . . . India
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benefits greatly from its partner country status and a total attendance of 177,154.14
A second special campaign was intended to entice people attending the International Film Festival,
Cannes. Large outdoor posters that featured scenic sites of India were showcased next to film titles.
Riding high on the success of this international exposure, the Ministry of Tourism launched the “India
Now” campaign — a three-month campaign dedicated to the Indian fine arts — in London from July to
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September, 2007.15 Conceptualized by Leena Nandan, the then new joint secretary (Tourism) and Sunil,
this campaign represented the evolution of the Indian economy and culture. The outdoor panels of many
bus shelters portrayed photographic images of India juxtaposed with names of London Underground
stations. Nearly one million participants joined the event.16.
The year 2007 also marked India’s sixtieth year of independence. Treating this as a befitting reason to
celebrate freedom, “Incredible India” opened in New York. Starting September 23, the four-day
India@60 event, which coincided with the meeting of the General Assembly of the United Nations,
targeted international leaders and business tycoons alike.17 Billboards at Times Square and in bus shelters
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13
Ibid.
14
www.businesswire.com/news/home/20070313005446/en/ITB-Berlin-2007-Leading-International-Meeting-Travel, accessed
February 23, 2014.
15
www.incredibleindiacampaign.com/indianow.html, op cit.
16
http://incredibleindiacampaign.com/indianow.html, accessed May 15, 2014.
17
“Incredible India@60 Brings the Best of India to the Rest of the World,” Business Wire, September 20, 2007.
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as well as television and radio advertisements all announced India@60, and with 41 exclusive events
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including many conferences, panel discussions, cultural shows and gala dinners, the campaign attracted
new consumers.
In order to grow further, a second campaign was developed by Nandan and Sunil. Across 71 leading
newspapers and magazines, the international “Colours of India” campaign featuring magnificent images
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and colourful headlines — e.g., Tea Green and Pure Gold — made its presence felt.18 The campaign
positioned India as a colourful tourism destination and was advertised on a scale never reached before.
The number of international tourists crossed the five million mark.
The growth in the flow of foreign tourists into India and the earnings there from continued unil the onset
of the financial crisis of 2008 (see Exhibit 3 for changes in growth trends). To counter its negative effect
on tourism, the campaign was re-invented to feature immigrants who had once travelled to India and
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chose to remain, adopting India as their home and “Motherland.”
An interesting promotion occurred in 2009: “Incredible India’s” campaign in Los Angeles.19 The titles of
famous Hollywood movies were used as headlines and set against images of India as a tongue-in-cheek
reference to India’s addiction to movies.
Unfortunately, some stray incidents of crime against foreigners in India resulted in adverse media
coverage about safety, which was starting to hurt the tourist industry.20 A campaign was launched to
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remove the social ills and educate the citizens of India about the need for hospitality towards foreign
visitors. A renowned Bollywood actor, Aamir Khan, who was widely recognized in India, was appointed
as the brand ambassador for the advertisement campaign, which validated India’s traditional belief Atithi
Devo Bhavah — “treating guests as gods.”21 It aimed to educate not only the general public, but also
stakeholders of the tourism industry and included providing training to taxi drivers, guides, immigration
officers, police and other personnel who interacted directly with tourists.
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ASSESSMENT OF THE INTERNATIONAL CAMPAIGN
Few campaigns have impressed me as much as “Incredible India” in its uniqueness, creativity,
impact and effectiveness. Visualized and implemented by Amitabh Kant, the campaign took
Indian tourism to new heights.22
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“Incredible India” was commended by many and was believed to have attracted many international
tourists to India, which led to the positive contribution of tourism to India’s GDP (see Exhibit 4).
However, to measure the true effect of the campaigns and to help plan the future course of action, Parvez
Dewan, the secretary of the Ministry of Tourism, commissioned Nielsen India Private Limited to conduct
a review. Nielsen tested the campaigns launched by the Ministry of Tourism in the United States, France
and Australia during the period August 2011 to March 2012. Primarily, they measured the reach, quality
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18
www.incredibleindiacampaign.com/campaign2008.html, op cit.
19
www.incredibleindiacampaign.com/lacampaign.html, op cit.
20
M. Kaushik, “Incredible India,” Business Today, April 20, 2008.
21
See P. Nichenametla, “Aamir to Sell Incredible India,” McClatchy — Tribune Business News, August 16, 2008.
22
Francesco Frangialli, Secretary-General, UN World Tourism Organization (UNWTO), www.amitabhkant.in/praises.html,
accessed November 15, 2013.
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and examined consumers’ perception regarding the three consolidated campaigns (global television, print
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and online campaigns).23
Exhibits 5 to 13 reveal some of the key findings of the assessment study, which evaluated the campaign
on various factors such as recall, viewing media, viewing frequency, most striking aspects of the
advertisement, etc. The study demonstrated that the advertisements helped garner a favourable impression
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of India and had had a positive impact on the targeted masses. Beyond these quantitative assessments, the
study also brought out qualitative insights. It revealed that some the travellers were apprehensive about
visiting India because they feared getting cheated by locals and others were not sure how to get to India or
find transportation and accommodation when they arrived. On the whole, while many tourists knew about
India, they did not consider it to be a prime tourist destination. Many consumers felt that the
advertisements could educate them more about what was happening or changing in India.
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While the study by Nielsen offered some insights, there was, however, another question to be answered:
which brand architecture would befit India’s tourism campaign the most?
POSSIBLE BRAND ARCHITECTURE
From 2013 onwards, would Indian tourism, which was based on a unified branding approach, be able to
sustain its growth in the long run? Or would it be more advantageous to change to a system in which
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different tourism products and regions would be branded distinctly? To structure and organize India’s
product portfolio, there were many strategic alternatives to choose from, some of which are listed
below.24
Strategy 1
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A distinct symbol that expressed India could act as an anchor in its branding strategy. With the rising
need to enhance India’s exports, tourism inflows and foreign direct investment, it was quite difficult to
build credibility for a country’s disparate range of diverse products, service and destination brands in the
outside world. Therefore, this strategy could be used to leverage the master brand of India for all its
regional offerings, with only a descriptive name attached for the individual products. The unified capacity
of proven associations of a national umbrella brand was expected to serve as a unique selling proposition,
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thus providing India a competitive advantage.
Strategy 2
India’s umbrella brand was to occupy a comparatively stronger spot in influencing consumer decision
making, while the sub-brands were expected to help in providing distinct identities to the individual
products. Several sub-regional tourism managements could use “Incredible India” logos with appropriate
adaptations. The template of this logo could be licensed to a host of private tourism service providers,
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tour operators and tourism-related business associations so that they were all promoted as sub-brands,
drawing strength from the equity enjoyed by the parent brand.
23
Ministry of Tourism Government of India, “Assessment of International Media Campaigns of the Ministry of Tourism,”
January 2013.
24
David A. Aaker and Erich Joachimsthaler, Brand Leadership: Building Assets in an Information Economy, Free Press,
London, April 27, 2009, p. 9.
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Strategy 3
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The umbrella brand would only transfer general values and credibility to the individual product brands.
Each product brand would have its own independent distinguishing values that differentiated it from
others. In this approach, the national brand could promote its regional brands.
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Strategy 4
India would be divided into autonomous regions, each of which could be permitted to have its own
branding strategy. Thus, each brand would promote itself independently of India’s national tourism brand.
This would result in numerous stand-alone tourism brands.
With the changing propositions of “Incredible India,” India had four choices of branding alternatives to
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choose from. Was a change necessary in 2013? If yes, which brand architecture had maximum potential
to enhance the perception of India among foreign tourists?
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No
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EXHIBIT 1: TOURISM BRANDING TAGLINES OF INDIAN STATES AND UNION TERRITORIES
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State / Union Territory Tagline
Andaman & Nicobar Island Emerald Blue and You
Andhra Pradesh Everything’s possible!
Bihar Blissful Bihar
Chhattisgarh Full of surprises
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Dadra and Nagar Haveli The Land of Natural Beauty
Goa Go Goa — A perfect holiday destination
Gujarat Khushboo Gujarat Ki*
Haryana A pioneer in highway tourism
Himachal Pradesh Unforgettable Himachal
Jammu and Kashmir Paradise on earth
Jharkhand A new experience
Karnataka One State. Many Worlds.
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Kerala God’s own country
Lakshwadeep 99 per cent fun and 1 per cent land
Madhya Pradesh The heart of Incredible India
Maharashtra Maharashtra Unlimited
North East A journey for heaven
Odisha Scenic, Serene, Sublime
Pondicherry Peaceful Pondicherry — Give time a break
Punjab India begins here
Rajasthan The Incredible state of India
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Tamil Nadu Enchanting Tamil Nadu
Uttar Pradesh Amazing Heritage, Grand Experience.
Uttarakhand Simply Heaven!
West Bengal Beautiful Bengal
Note: *”Khushboo Gujarat ki” means “fragrance of Gujarat.”

Source: (in order of appearance) www.andamans.gov.in/, accessed November 15, 2013; www.aptourism.in/, accessed
November 15, 2013; www.bihartourism.gov.in/home.html, accessed November 15, 2013; www.chhattisgarhtourism.net/,
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accessed November 15, 2013; www.dnh.nic.in/tourism.html, accessed November 15, 2013; www.goatourism.gov.in/,
accessed November 15, 2013; www.gujarattourism.com/, accessed November 15, 2013; www.haryanatourism.gov.in/,
accessed November 15, 2013; www.himachaltourism.gov.in/, accessed November 15, 2013; www.jktourism.org/, accessed
November 15, 2013; www.jharkhandtourism.in/default.asp, accessed November 15, 2013; www.karnatakatourism.org/,
accessed November 15, 2013; www.keralatourism.org/, accessed November 15, 2013; www.lakshadweeptourism.nic.in/,
accessed November 15, 2013; www.mptourism.com/web/home.aspx, accessed November 15, 2013;
www.maharashtratourism.gov.in/mtdc/Index/Index.aspx, accessed November 15, 2013; www.northeasttourism.in/, accessed
November 15, 2013; www.orissatourism.gov.in/new/, accessed November 15, 2013; www.tourism.pondicherry.gov.in/,
accessed November 15, 2013; www.punjabtourism.gov.in/, accessed November 15, 2013; www.rajasthantourism.gov.in/,
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accessed November 15, 2013; www.tamilnadutourism.org/, accessed November 15, 2013; www.up-tourism.com/, accessed
November 15, 2013; www.uttarakhandtourism.gov.in/, accessed November 15, 2013;
www.westbengaltourism.gov.in/web/guest, accessed November 15, 2013.
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EXHIBIT 2: SPENDING BY INTERNATIONAL TOURISTS FOR BUSINESS AND
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LEISURE TRIPS IN INDIA
Visitor Exports
Year Per Cent
in INR billion in US$ billion
share*
2002 159.25 3.28 4.7
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2003 210.20 4.51 5.5
2004 283.71 6.26 5.5
2005 335.85 7.62 4.9
2006 402.11 8.87 4.6
2007 462.65 11.19 4.7
2008 540.30 12.42 4.1
2009 554.79 11.47 4.4
2010 669.13 14.63 4.2
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2011 842.62 18.05 4.1
2012 1,004.63 18.78 4.1
2013 1,181.11 21.88 4.3
Note: *Compared with exports of all goods and services.

Source: http://old.wttc.org/includes/pages/cms_edit_tsa_data/excel_work_tsa_tool2/WTTC_Data_Export_1400128190.xls,
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EXHIBIT 3: FOREIGN TOURIST ARRIVALS (FTA) IN INDIA
Per Cent change over the previous

Year FTAs in India (in millions)
year
2002 2.38 -6
2003 2.73 14.3
2004 3.46 26.8
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2005 3.92 13.3

2006 4.45 13.5
2007 5.08 14.3
2008 5.28 4
2009 5.17 -2.2
2010 5.58 9.3
2011 6.3 13
2012 6.65 5.4
No
Source:
http://tourism.gov.in/writereaddata/CMSPagePicture/file/marketresearch/publications/India%20Tourism%20Statics(2012)%2
0new.pdf, accessed May 15, 2014.
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EXHIBIT 4: TRAVEL AND TOURISM’S CONTRIBUTION TO INDIA’S GDP
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Travel & Tourism Direct Contribution to GDP Travel & Tourism Total Contribution to GDP
Real growth Real growth
Year in INR bn* in US$ bn in INR bn in US$ bn
(Per Cent) (Per Cent)
2002 602.77 12.40 19.5 2,072.37 42.64 18.6
2003 707.41 15.19 13 2,429.06 52.15 12.9
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2004 778.60 17.18 4.5 2,738.79 60.44 7
2005 727.01 16.49 -10.5 2,499.64 56.69 -12.5
2006 859.56 18.97 11.6 2,953.63 65.18 11.6
2007 994.16 24.05 9.3 3,475.65 84.07 11.2
2008 1,159.73 26.66 6.9 4,014.08 92.28 5.8
2009 1,227.91 25.39 1.5 4,130.66 85.41 -1.2
2010 1,436.78 31.41 7 4,768.45 104.25 5.6
2011 1,673.50 35.84 7.3 5,686.44 121.78 9.8
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2012 1,919.66 35.89 6.1 6,385.13 119.38 3.9
2013 2,221.76 41.16 6.9 7,416.14 137.39 7.3
World Trade and Tourism Council defines “Travel and tourism” as the activity of travellers on trips outside their usual
environment with duration of less than one year. Economic activity related to all aspects of such trips is accounted for in this
exhibit. Direct contribution to GDP is the GDP generated by industries that deal directly with tourists, including hotels, travel
agents, airlines and other passenger transport services, as well as the activities of restaurant and leisure industries that deal
directly with tourists. It is equivalent to total internal travel and tourism spending within a country less the purchases made by
those industries (including imports).Total contribution to GDP is generated directly by the travel and tourism industry plus its
indirect and induced impacts.
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*bn = billion
Source: http://old.wttc.org/includes/pages/cms_edit_tsa_data/excel_work_tsa_tool2/WTTC_Data_Export_1400127993.xls,
EXHIBIT 5: SURVEY SAMPLE PROFILE

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Category of Respondents
Country International tourists who have visited International tourists who have Total
India not visited India
United
600 458 1,058
States
Australia 606 456 1,062
France 600 457 1,057
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Source: Assessment of International Media Campaigns of the Ministry of Tourism — USA, Australia and France, AC
Nielsen, MARG Private Limited, Ministry Of Tourism Government of India.
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EXHIBIT 6: BRAND RECALL SURVEY IN UNITED STATES, FRANCE AND AUSTRALIA
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Recall of the brand
Viewership of the tagline considering
Incredible India only those who had
Recalled Taglines (in Per Cent)
Campaign viewed the
Country
(in Per Cent) campaign
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(in Per Cent)
Could Failed to Indispensable Incredible Amazing
Viewed Not viewed Visit India
recall recall India India India
United
31 69 48 52 13 13 62 12
States
Australia 32 68 45 55 3 12 76 9
France 37 63 66 34 6 10 63 21
Source: Assessment of International Media Campaigns of the Ministry of Tourism — USA, Australia and France, AC Nielsen,
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MARG Private Limited, Ministry Of Tourism Government of India.
EXHIBIT 7: ADVERTISEMENT VIEWING MEDIA (IN PER CENT)
Print & Print, TV and

Print Television Online Print & TV TV & Online Online Online
United States (N=1048) 26 15 15 11 4 7 21
Australia (N=1062) 22 19 14 8 10 12 15
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France(N=1057) 31 17 17 12 2 13 7
EXHIBIT 8: ADVERTISEMENT VIEWING MEDIA VERSUS ADVERTISEMENT SHOWCASING

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USA Australia France

Online TV Print Online TV Print Online TV Print
(n=1,871) (n=1,735) (n=2,233) (n=1,871) (n=1,735) (n=2,233) (n=1,871) (n=1,735) (n=2,233)
Heritage & Culture 12 10 7 20 17 22 17 16 25
Religious Places 5 10 4 9 6 4 12 7 1
Culinary Fairs & Festivals 5 8 1 13 14 3 2 6 1
Beaches & Seas 10 5 1 6 14 2 7 9 2
Hill Stations & Mountains 3 3 4 8 14 3 6 5 2
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Wildlife & Adventure 10 9 6 15 5 22 15 15 21

Medical Tourism, Yoga,
4 5 1 2 3 2 7 9 2
etc.
Don’t know 51 50 76 27 29 41 40 42 47
Note: All figures are in percentages.

Do
Page 12 9B14A017
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EXHIBIT 9: FREQUENCY OF VIEWING ADVERTISEMENT
os
Print
Country Frequently Occasionally Rarely
(Per Cent) (Per Cent) (Per Cent)
United States (N=1,048) 17 46 37
Australia (N=1,062) 11 40 49
rP
France(N=1,057) 17 42 41
Television
Frequently Occasionally Rarely
Australia (N=1,062) 20 42 39
France(N=1,057) 17 45 38
Online
yo
Frequently Occasionally Rarely
Australia (N=1,062) 35 36 29
France(N=1,057) 12 45 43
op
EXHIBIT 10: ADVERTISEMENT RATING FOR PRINT, TELEVISION AND
ONLINE VIEWING MEDIA
United States Australia France

Excellent Good Average Poor Excellent Good Average Poor Excellent Good Average Poor
Print
tC
Overall feeling 36 43 20 1 27 45 26 2 27 37 34 1
Appearance 41 37 21 1 38 48 10 4 32 39 28 0
Quality 42 36 21 1 31 45 21 3 32 45 23 0
Content 31 47 22 0 23 40 34 2 23 35 39 3
Visibility 27 22 35 16 24 38 38 0 24 38 36 2
Television
Overall feeling 23 50 26 2 34 44 18 3 27 40 33 0
Appearance 37 36 26 0 55 45 18 2 31 43 25 1
No
Quality 17 48 35 0 16 41 41 2 28 36 35 1
Content 35 37 26 2 34 46 19 1 42 39 19 0
Visibility 30 39 28 3 16 40 41 3 29 31 39 0
Online
Overall feeling 33 40 25 3 31 46 20 3 31 41 28 0
Appearance 33 39 26 2 30 45 21 4 38 41 18 2
Quality 40 32 27 1 33 40 23 4 37 45 18 0
Content 29 43 29 0 29 41 27 3 25 35 39 0
Visibility 22 38 25 15 24 40 35 1 24 31 42 3
Do

Page 13 9B14A017
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EXHIBIT 11A: THREE MOST STRIKING FEATURES OF THE ADVERTISEMENT — UNITED STATES
os
Print TV Online
Rank 1 Rank 2 Rank 3 Rank 1 Rank 2 Rank 3 Rank 1 Rank 2 Rank 3
Ad frequency 84 44 35 82 55 31 91 30 33
Ad concept 119 169 132 109 129 60 125 110 55
Beauty of the
370 97 83 243 57 86 192 82 58
rP
destinations
Supportive music — — — 60 122 103 50 111 121
Emotional appeal 40 160 127 45 106 144 35 97 106
Tagline of the ad 70 215 302 16 83 128 8 69 125
Other 8 6 12 0 3 3 0 2 3
EXHIBIT 11B: THREE MOST STRIKING FEATURES OF THE ADVERTISEMENT — AUSTRALIA
yo
Print TV Online
Ad frequency 50 27 20 68 13 11 61 31 20
Ad concept 102 127 130 134 97 92 92 122 94
Beauty of the
369 117 39 271 128 51 279 125 46
destinations
op
Tagline of the ad 48 188 230 8 38 128 21 26 96
Other 6 1 2 0 1 4 6 0 2
EXHIBIT 11C: THREE MOST STRIKING FEATURES OF THE ADVERTISEMENT — FRANCE
Print TV Online
tC

Ad frequency 53 8 28 47 10 19 32 4 6
Ad concept 123 144 108 59 79 41 61 74 51
Beauty of the
386 141 36 246 71 16 239 102 28
destinations
Tagline of the ad 48 217 339 7 20 131 14 22 149
Other 0 0 4 0 6 4 0 6 5
No
Do
Page 14 9B14A017
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EXHIBIT 12: OPINION ON THE ADVERTISEMENT
os
Print TV Online Print TV Online Print TV Online
Contemporary design and styling 30 21 20 27 20 21 25 16 19
Diversity 20 25 23 21 26 21 21 26 22
Lacks clarity 21 20 25 24 23 23 23 21 22
rP
Attractive and youthful concept 17 18 16 14 16 17 21 24 23
Forceful and touching 7 8 8 8 7 9 6 6 8
Too much to inform/digest 5 8 8 6 8 9 4 7 6

Source: Assessment of International Media Campaigns of the Ministry of Tourism — USA, Australia and France, AC
Nielsen, MARG Private Limited, Ministry Of Tourism Government of India.
yo
EXHIBIT 13: EFFECT OF “INCREDIBLE INDIA” ADVERTISEMENTS

Has the advertisement changed anything yet?
Yes No Yes No Yes No
Changed perception about India 53 47 55 45 46 54
Increased knowledge about India 35 65 44 56 33 67
Informed about new destinations 57 43 68 32 47 53
Informed about new tourism products 31 69 58 42 41 59
op
Revisiting/Visiting India 64 36 69 31 54 46

tC
No
Do

Incredible India: Evolution of Brand India: Permissions@hbsp - Harvard.edu or 617.783.7860

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INCREDIBLE INDIA: EVOLUTION OF BRAND INDIA1

Copyright © 2014, Richard Ivey School of Business Foundation Version: 2014-07-30

 A well-defined and unique brand personality,

 Careful brand guardianship.6

EVOLUTION OF “INCREDIBLE INDIA”

 Folk music concerts by 75 artists from different Indian states.

ASSESSMENT OF THE INTERNATIONAL CAMPAIGN

POSSIBLE BRAND ARCHITECTURE

thus providing India a competitive advantage.

Note: *”Khushboo Gujarat ki” means “fragrance of Gujarat.”

Note: *Compared with exports of all goods and services.

Per Cent change over the previous

2005 3.92 13.3

EXHIBIT 5: SURVEY SAMPLE PROFILE

EXHIBIT 7: ADVERTISEMENT VIEWING MEDIA (IN PER CENT)

Print & Print, TV and

EXHIBIT 8: ADVERTISEMENT VIEWING MEDIA VERSUS ADVERTISEMENT SHOWCASING

USA Australia France

Wildlife & Adventure 10 9 6 15 5 22 15 15 21

Note: All figures are in percentages.

United States Australia France

Note: All figures are in percentages.

EXHIBIT 11B: THREE MOST STRIKING FEATURES OF THE ADVERTISEMENT — AUSTRALIA

EXHIBIT 11C: THREE MOST STRIKING FEATURES OF THE ADVERTISEMENT — FRANCE

Rank 1 Rank 2 Rank 3 Rank 1 Rank 2 Rank 3 Rank 1 Rank 2 Rank 3

Note: All figures are in percentages.

United States Australia France

Note: All figures are in percentages.

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