MAM
Hogarth crafts Dove’s ‘Reborn Collective’ as a culture-first campaign
MUMBAI: Hogarth India has partnered with Dove to launch The Reborn Collective, the brand’s first long-format cultural platform, positioning strength as something forged through lived experience rather than polished perfection.
Rooted in Dove’s new Peptide Bond Strength haircare range, the campaign draws on the idea of hair being “reborn stronger” through bond repair using peptides. That product truth is expanded into a broader cultural metaphor inspired by kintsugi: the Japanese art of repairing broken objects with gold, where damage is acknowledged and transformed into strength.
Developed by Hogarth’s creative team, the platform translates Dove’s “reborn stronger” philosophy into a series of intimate, human-first conversations and collaborations. Anchored in repair rather than erasure, the collective brings together eight women whose personal journeys reflect resilience shaped over time: Neena Gupta, Sunita Rajwar, Zeenat Aman, Trinetra Haldar, Geeta Tandon, Rhea Chakraborty, Aditi Parmeshwaran and Baljeet Kaur.
The initiative unfolds through Reborn stronger: the podcast, featuring four candid episodes with members of the collective, and Reborn stronger: the anthem, Jugni: a musical ode to renewal composed by Sneha Khanwalkar, written by Anvita Dutt and sung by Afsana Khan and Raja Kumari. With rustic, desi and sufi influences, the anthem pushes the idea of rebirth beyond narrative into sound and emotion.
“Transformation is not about erasing the past, but embracing and repairing it,” said Hindustan Unilever vice president, hair care Sairam Subramanian. “The Reborn Collective captures the real, raw moments that shape who we become.”
Hogarth India beauty vertical head Sunetro Lahiri, said the campaign was a conscious move away from overt digitisation towards something more human, while Ishita Hora, vice president, client services at Hogarth Mumbai, described it as a rare opportunity to build a cultural platform grounded in truth rather than surface storytelling.
Designed to live across platforms and invite participation, The Reborn Collective opens the conversation to women nationwide, encouraging them to share their own moments of renewal, positioning rebirth not as a comeback, but as an ongoing, deeply personal process.
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.
