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Creative Abbys: Ogilvy tops, Grand Prix also for Creativeland Asia
VARCA, GOA: It was Ogilvy‘s night at the Goafest as it walked away with 51 metals including a Grand Prix to rule supreme in the creative world.
Ogilvy India took home the Creative Abby Grand Prix in the Digital & Interactive category for their ‘Photographs Case‘ creation for Fox Crime.
Creativeland Asia also pocketed the Grand Prix for its work for Audi in the Integrated category and ended with one Gold and five Silver.
Ogilvy & Mather scooped up 11 Gold, 16 Silver and 23 Bronze metals. The agency won maximum Gold in the Direct category with a kitty of four, three of which came for its work for Fox Crime. The other categories it won Gold for included Film (Imperial Blue), Radio (Tata Sky), OOH (Mentos Sour Marbles), Print (Mentos Sour Marbles), Design (Mentos Sour Marbles) and Digital and Mobile (Fox Crime).
Taproot India bagged the next highest number of Gold awards, taking home 34 metals. The agency won six Gold, 13 Silver and 15 Bronze metals. It won Gold trophies in categories like Film (Airtel), OOH (Audio Book India), Print (Audio Book India), Print Craft (Times of India) and Integrated (Pepsi and Vodafone).
Leo Burnett bagged three Gold Abbys. The agency won 35 metals, one more than Taproot. It took home 11 Silver and 21 Bronze trophies.
DDB Mudra won a total for 32 trophies with two Gold, 13 Silver and 17 Bronze while Grey India won 17 awards with one Gold, six Silver and 10 Bronze.
A total of 332 metals were given away this year at the Creative Abbys, which included two Grand Prix, 34 Gold, 117 Silver and 179 Bronze.
|
Agency
|
Grand Prix
|
Gold
|
Silver
|
Bronze
|
Total
|
| Ogilvy India |
1
|
11
|
16
|
23
|
51
|
| Taproot India |
|
6
|
13
|
15
|
34
|
| Leo Burnett |
|
3
|
11
|
21
|
35
|
| DDB Mudra Group |
|
2
|
13
|
17
|
32
|
| Grey India |
|
1
|
6
|
10
|
17
|
| Creativeland Asia |
1
|
1
|
5
|
|
7
|
| BBDO India |
|
1
|
4
|
8
|
13
|
| JWT India |
|
1
|
3
|
12
|
16
|
| Contract Advertising India |
|
|
5
|
7
|
12
|
| ideas@work |
|
|
3
|
4
|
7
|
| Maxus India |
|
|
3
|
4
|
7
|
The Creative Abbys received 4250 entries compared to 3500 entries last year. A total of 175 agencies participated, eight of whom were from other countries.
Out of the total 175 participants, 61 agencies walked away with awards including four of the eight foreign participants – Grant McCann Erickson, Leo Burnett Solutions INC, Phoenix Ogilvy Sri Lanka and Publicis Solutions (Leo Burnett Sri Lanka).
Interestingly, the Abbys received entries from Grant McCann, but the Indian branch did not send any entry this time around.
Click here to open creative abby Awards‘ list.
Also Read:
Ogilvy wins Digital & Interactive Grand Prix
Mindshare takes home Grand Prix at Media Abbys
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.
