MAM
Motorola teams up with Shantanu & Nikhil for the Peach Muse collection
Mumbai: Motorola, a global leader in smartphone design and innovation has partnered with renowned Indian fashion designers Shantanu & Nikhil for the launch of ‘Motorola Peach Muse’ collection that is inspired by motorola edge40 neo in PANTONE Color of the Year 2024- Peach Fuzz. Motorola is the first and only smartphone brand to have a multi-year exclusive collaboration with PANTONE™, in line with its commitment to differentiate with design & colours while enriching people’s lives through meaningful innovation A velvety gentle peach hue, Peach Fuzz has a cosy, tender essence that embodies feelings of togetherness, community, and collaboration. The new Color of the Year, Peach Fuzz, aligns beautifully with Motorola’s pillars of inclusion and making technology more accessible for all.
Shantanu and Nikhil, known for their impeccable craftsmanship and visionary aesthetics, have lent their creative genius to curate five exclusive ensembles in the mesmerizing Peach Fuzz colour palette, perfectly complementing the allure of the edge 40 neo. Additionally, India’s leading influencers like Abhinav Mehta and Juhi Godambe have enthusiastically embraced the Motorola Peach Muse collection, showcasing these exquisite ensembles in a captivating video that encapsulates the essence of Fashion meets Tech. The campaign conceptualized and executed by Barcode Entertainment has already captured the imagination of millions, garnering an impressive 2M likes and sparking 4.4K comments from engaged viewers. This unprecedented level of engagement underscores the resonance of the Motorola Edge 40 Neo and its embodiment of sophistication and contemporary flair.
Being the world’s lightest 5G phone with IP68 underwater protection, the motorola edge 40 neo is a device that puts colour at the centre of the design. The smartphone’s Peach Fuzz version inspired Shantanu and Nikhil to introduce the ‘Motorola Peach Muse’ collection. The exclusive collection acts as an innovative fusion between fashion and technology, capturing the essence of a smartphone’s design story.
Commenting on the partnership, Motorola Asia Pacific head of marketing Shivam Ranjan said, “Collaborating with Shantanu and Nikhil for Motorola’s innovative campaign is a testament to our dedication to novelty and style. This partnership demonstrates our commitment to pushing the boundaries of style and originality, not just in our products but also in our marketing strategies. We are thrilled with the positive response from the audience for our ‘Motorola Peach Muse’ campaign, which has set a new benchmark in the landscape of mobile technology and fashion.”
Sharing their views, Shantanu and Nikhil, said, “In collaborating with Motorola, we embarked on a journey of innovation, weaving the essence of the Pantone Color of the Year in our design and colour palette. The motorola edge smartphone Peach Fuzz Edition not only captures the vibrancy of this hue but also embraces the characteristics of peach fuzz – soft, subtle, yet invigorating. This unique blend of colour with technology resonates with users on a personal and style level.”
“This collaboration epitomizes the seamless fusion of technology and fashion,” expressed Ajay Kulkarni, Director of Growth at Barcode Entertainment. “The overwhelming response to Motorola Muse highlights its innovative approach, marrying cutting-edge technology with contemporary elegance. Partnering with Shantanu and Nikhil has enabled us to create something truly extraordinary.” This Peach Fuzz edition of the motorola edge40 neo is a true head-turner, epitomising sophistication, functionality, and unparalleled design. Offering users, a device that reinforces the importance of human connection.
Motorola edge40 neo is available in Pantone Color of the year – Peach Fuzz in the below link:
To check out the association videos:
Shantanu & Nikhil with Juhi Godambe –
Shantanu & Nikhil with Abhinav Mathur –
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.
