MAM
Ajio launches Dhurandhar merchandise collection with Jio Studios
Limited edition range inspired by the film starts at Rs 349 on Ajio.
MUMBAI: When cinema meets the wardrobe, fandom doesn’t just stay on the screen, it walks out onto the street. Ajio, India’s fashion e-commerce platform, has launched an exclusive merchandise collection inspired by the spy-action film Dhurandhar, extending the film’s bold on-screen personality into everyday fashion.
The limited-edition range has been created in collaboration with Jio Studios and features graphic driven apparel and statement silhouettes that draw directly from the film’s high-energy aesthetic and characters.
Designed to appeal to both movie fans and style conscious shoppers, the collection translates the cinematic swagger of Dhurandhar into wearable fashion pieces starting at Rs 349.
The collection includes graphic T-shirts featuring iconic movie quotes, signature tees inspired by actor Ranveer Singh and limited-edition signed Pathani outfits that echo the larger-than-life style associated with the film’s characters.
Also part of the line-up is a collection inspired by Sara Arjun, translating her on-screen styling into contemporary silhouettes designed to appeal to younger audiences and fashion forward fans.
With bold typography, statement graphics and confident tailoring, the range blends cinematic storytelling with streetwear aesthetics, turning the film’s cultural energy into a fashion statement.
The collaboration reflects Ajio’s growing strategy of using fashion collaborations to tap into pop culture moments and entertainment properties.
By bringing elements of popular films into apparel, the platform allows audiences to move beyond simply watching a film and instead wear their fandom, making cinema part of everyday style.
Produced by Jio Studios and B62 Studios, Dhurandhar has emerged as one of the most talked-about action thrillers in recent times, known for its high-octane storytelling and larger-than-life characters.
The film, written and directed by Aditya Dhar, is also set to expand into a franchise, with the sequel “Dhurandhar: The Revenge” scheduled to release in theatres worldwide on March 19, 2026.
By launching the merchandise collection ahead of the sequel, Ajio and the film’s producers are extending the film’s universe into fashion, giving fans another way to connect with the story and its characters.
The Dhurandhar merchandise collection is now available exclusively on Ajio, bringing cinematic attitude, bold graphics and spy-thriller swagger straight into the wardrobes of fans.
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.
