Carat Media Services appointed AOR of SCA Hygiene in India
MUMBAI: Carat Media Services has bagged the media duties of SCA in India. The business will be handled by Carat’s Mumbai office.
SCA is a leading global hygiene and forest product company that develops, produces and markets personal care products in categories such as baby diapers, incontinence care and feminine care, the world’s third largest suppliers of tissue, forest products and packaging solutions.
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SCA India VP consumer goods Cecilia Edebo
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The brands that SCA intends to launch on the Indian market in the coming months include Libero baby care, Tempo – for hand and face hygiene, TENA – the world leader in incontinence care, and Tork – the global leader in the away-from-home tissue segment.
India being one of the emerging markets there would be under significant focus and investment towards fulfilling the needs of Indian customers and consumers in a spirit of innovation, through continuous efficiency enhancements and with a clear desire to contribute to sustainable development.
On the launch, SCA India VP consumer goods Cecilia Edebo said: “SCA aims to grow organically and has extensive experience in the hygiene business, which should help to provide better hygiene for the Indian consumer. The large population and the low penetration of hygiene products provide the potential for SCA’s future growth. In this endeavor, we had a series of presentations and discussions to evaluate the strategic thinking capabilities of Carat to enable our differentiation at the market place, demonstration of tools and passion of the team. We are happy that Carat India’s team demonstrated great ability in strategic thinking capabilities backed by a solid integrated offering to support the Marcom. We are happy to have them as our media partner.”
Carat India Sr. VP Himanka Das said: “We are delighted to extend our partnership with SCA in India, they have some great personal care and incontinence care brands in their portfolio to offer and we do look forward to partnering them in their India plans. We have been working with them for the last one year to firm up the launch strategies based on extensive media market analysis.”
Carat is part of the Aegis Media Group. Other companies in the group include Vizeum, Posterscope the global OOH sector leader, Brandscope, Hyperspace (Retail), Carat Fresh Integrated (Activation), PSI (Airports), Doosra (Creative), Isobar, the global communications agency with digital at its heart and iProspect, the global leader in search and performance marketing.
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.
