MAM
Lowe Lintas and Partners sign on over 100 new businesses in 15 months
MUMBAI: In a year that was relatively sluggish for the industry, Lowe Lintas and Partners announced today that they registeredover 100 business wins in the past 15 months. These wins have come across its 7 divisions and 9 offices in India.
Joseph George (Joe), Chief Executive Officer – Lowe Lintas and Partners says, “2013was the culmination of an aggressive 3 year New Business plan that was put in place in early 2011; resulting in us, signing up upward of 300 new businesses in this period.Fantastic work leading to in-market success of our existing brandshas played a disproportionate role in helping us earn the confidence of new clients.I have always believed that doing well on Existing business is the best strategyto acquire New business”
Some of the clients acquired in this period include Hero Motocorp, myntra.com, STAR TV, OLX, Heinz, Bharat Matrimony, Onida, Expedia, bookmyshow, Milma, Coir Board, Bharat Benz, Max Bupa, Finolex, Gyproc, Apollo Hospitals, Wockhardt, Bharat Forge, MCX, Heinz, Rajasthan Tourism, Nutricia, Mahanagar Gas, Dr. Reddy’s Labs among many others…
Lowe Lintas and Partners, IPG’s largest operation in India,partnersabout 250 clients. Some of whom, amongst India’s most successful and marketing savvy companies–Aditya Birla Group, Arvind Brands, Axis, Britannia, Croma, Dabur, DLF, Essar, Future Group, Godrej, Havell’s, Hindustan Unilever, ICICI, ITC, Johnson & Johnson, Maruti, Micromax, MRF, Nestle, Croma, Tata Tea, Tanishq, Times Group, Videocon to name a few.
OpineAmer Jaleel and Arun Iyer, National Creative Directors at Lowe Lintas – “The agency has put out the best body of work in the industry; now for 2 years in a row. So while 100 or 300 is a statistic that we are certainly very happy about, what is even more gratifying,is that the infectious energy ofthese wins are spurring on all of us to deliver even better work”
Lowe Lintas and Partnershas traditionally been a strong player in advertising; but in recent times, its divisions outside of advertising have been significant contributors to business growth. A reasonable chunk of the over 100 wins have been accounted for, by LinOpinion-Golin Harris (Public Relations), LinEngage (Activation), dCell ( Design ), LinTeractive-Interactive Avenues and LinHealth-ICC (Healthcare Marketing)
Some of the clients acquired in this period by the “non-advertising” divisions include Shapoorji Group, Brylcreem, Bru Coffee, Haldiram’s, Abbot India, Piramal, Mattel Toys, Tata Asset Management, Supermax, Wadhawa Group, NEC India, Herbalife, INOX, G.M. Pens, VST Industries, Govt of Netherlands, Onida, Sony Max, Bangalore Literature Festival among many others..
Vikas Mehta, Chief Marketing Officer – Lowe Lintas and Partners said, “For the past year or so, we’ve gone about client acquisition as a group in a lot more orchestrated manner. It’s heartening to see our divisions like PR, Activation, Digital and Healthcare firing too.The investments we made through partnerships like Interactive Avenues and Golin Harris have shown results and we would like to make further and faster strides in that direction.”
Joseph George concludes “An often used metric byclients to evaluate apotential agency partner is the consistency with which itkeeps putting out work that impactsbonding, buzz and business results. And most new prospects find us doing rather well on that count…”
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.
