MAM
Kokuyo Camlin bags Asia’s Most Promising Brand award
MUMBAI: Kokuyo Camlin, a stationery and art material manufacturer, has been awarded as Asia’s Most Promising Brand under the stationery category. Asia’s Most Promising Brands 2014, an initiative by WCRC (World Consulting and Research Corporation) brings to the fore companies that have shown tremendous brand growth in the past few years.
Kokuyo Camlin executive director Nobuchika Doi, CEO A Srikanth and CMO Saumitra Prasad received the award on behalf of Kokuyo Camlin at a ceremony during the Brand and Leadership Summit 2014 on 12 January at The Oberoi, Gurgaon. The brand will be listed on the web portal and would also be entitled to receive the logo and communication rights of ‘Asia’s Most Promising Brands 2014.’
Doi said, “I am very honoured to receive this award and to be here today. I would like to thank all our colleagues especially marketing members who made outstanding efforts to increase the value of our brand. We have been investing in our brands Kokuyo Camlin keeping consumers at the core, and providing them the best overall experience. Also, we stand for making learning fun and thus making a big contribution to the society. We are delighted to see that our efforts have been recognised with this award. And our company’s vision is to be ‘Honor of Asia.’ All our employees are making a lot of efforts to realise this vision in day to day activities. So, I’m very happy now that we received this award Asia’s most promising brand 2014. Finally I would like to thank you again and hope I will be here again next year.”
Asia’s Most Promising Brands 2014 is a brand project where the process is validated, advised and evaluated by KPMG in India. Out of a list of 500 brands, 100 brands were featured across 25 industry categories to form the Asia’s Most Promising Brands for the year 2014.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
