MAM
After Hoodibaba, Lowe churns out ‘wind biking’ campaign for Bajaj
NEW DELHI: Continuing with its strategy of portraying salient motorbike attributes through innovative and enticing concepts, Lowe India has created a campaign ‘wind biking’ for its newly designed 125-cc four-stroke bike Wind125.
The agency had worked on Hoodibaba campaign for Bajaj Auto’s Caliber 115 motorbike earlier this year.
Commenting on the creative idea and treatment, Lowe’s vice-president Tarun Chauhan says, “The idea of this commercial is simply ‘Discover wind biking’. There’s a minimal use of props, sound, sets, etc.” He explains, “The basic idea was to concentrate on ‘wind biking’ and the fluttering and drying of the shirt was used to highlight ‘wind biking’. All other elements — for example the sound of the wind — were just used as support, without interfering with this core idea in any way.”
The communication strategy is to dramatise the ‘ride’ of the new 125cc world-bike by creating a new paradigm in riding: from ordinary biking to wind biking. The commercial was shot in Prague, Czech Republic. According to Bajaj Auto’s chairman and managing director Rahul Bajaj, the new bike has been designed in collaboration with its Japanese technology partner Kawasaki Heavy Industries.
Wind125 will be manufactured in Waluj for serving the worldwide Kawasaki sales network in addition to the Indian market. The new 125cc world-bike was developed by Bajaj Auto to enable the Indian rider to ‘experience a never-before exhilarating ride’.
It’s engineering, styling, design were all singly focussed on making this bike the ultimate riding machine, according to Chauhan. “While testing the prototype, consumer feedback also reiterated the ‘exhilarating riding experience’. Therefore, the concept of ‘wind biking’ really emerged from the product itself: what better way of dramatizing an exhilarating ride than to use wind as a metaphor for the sheer enjoyment, the sheer bliss of riding,” says Chauhan.
The entire campaign will remain on air for at least four months. “The campaign is being aired on all mainline regional and National channels,” Chauhan says. On the challenges faced in creating the new campaign, he says, “One challenge that we faced was, how do you redefine biking (as wind biking) with a product that outwardly looks quite similar to the Bajaj Caliber 115. We managed to overcome by romancing the bike in all its splendour and glory.”
The challenge to create different proposition for Wind125 was validated by the fact that both the motorbike brands handled by Lowe cater to the executive segment.
“Contrary to popular belief, Hoodibaba and ‘wind biking’ — aren’t mere terms; they are the raison d’?tre of the bikes’ existence. Hoodibaba is an expression of ‘wow’ to demonstrate the great bundle of attributes — best in class mileage, power, looks — that the Bajaj Caliber 115 offers; whereas wind biking is a metaphor for an exhilarating riding experience. And, these words work towards creating new, distinct positions for our bike portfolio,” is what Chauhan had to say on the strategy of introducing interesting concept.
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.
