MAM
Cannes Lions honours Ikea with advertiser of the year award
MUMBAI: Swedish home furnishing retail company, IKEA, will receive the prestigious Advertiser of the Year Award at the 58th Cannes Lions International Festival of Creativity, to be held on 19-25 June.
The trophy will be presented to IKEA Group global retail manager and VP Noel Wijsmans, during the Film, Film Craft, Titanium and Integrated and Creative Effectiveness Lions on 25 June.
“This important accolade is presented to advertisers who have distinguished themselves for inspiring innovative marketing of their products and who embrace and encourage the creative work produced by their agencies,”an official statement from Cannes Lions said.
Working with a number of different agencies, IKEA has encouraged creative, unconventional and humorous advertising to raise awareness of their brand and drive people to enter their stores.
Maintaining their marketing strategy, which is based around their business idea of offering a wide range of home furnishing products, the company has been able to localise its global target market and create advertising campaigns that vary significantly across territories. IKEA aimed to adapt to unique marketing conditions and cultural sensibilities of each country.
Cannes Lions CEO Philip Thomas added, “IKEA‘s approach to its marketing and communications, with its decentralised structure and strong relationships with many different kinds of agencies, has been hugely successful over many years. We congratulate both IKEA and its many agencies across many countries on this well-deserved honour.”
Since winning their first Cannes Lion in 1991, IKEA ads have gone on to win 50 Lions across all categories, including the Film Grand Prix in 2003 for ‘Lamp‘ and a Titanium Lion in 2010 for ‘Facebook Showroom‘.
Wijsmans commented, “I am honoured to receive this award on behalf of IKEA. It is a great recognition of IKEA advertising that speaks to all of us who want to have a functional and beautiful home. We want to inspire people to fulfill needs and dreams in their everyday life at home. And we want to do that with a smile.”
IKEA is named as an acronym comprising the initials of the founder‘s name, the farm where he grew up (Elmtaryd), and his home parish (Agunnaryd, in Sm?land, South Sweden).
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.
