MAM
Mamaearth rolls out new campaign “#IssWinterGlowNaturally” with Shilpa Shetty Kundra
Mumbai: Mamaearth has launched its latest integrated marketing campaign, “#IssWinterGlowNaturally,” featuring Shilpa Shetty Kundra.
The campaign film was created by Mamaearth’s internal creative team and produced by Estoot.
The campaign film highlights the brand ideology of bringing the wisdom and goodness of household DIY recipes into easy-to-use formats with the same goodness of natural ingredients without any toxins. What’s the most frequently used recipe in Indian households for dry and dull winter skin? Of course, it’s honey and malai.
The film opens with Shilpa Shetty Kundra walking into her friend’s house and unfolding a scenario that leaves her intrigued and confused. To help her friend with a trusted natural solution without all this ‘chip chip’ and ‘jhanjhat’, Shilpa recommends Mamaearth Honey Malai Cold Cream. Crafted with the goodness of natural ingredients like ‘honey’ and ‘malai,’ the cold cream is toxin-free and made safe certified. She is positioning Mamaearth Honey Malai as an easier way of giving one’s skin the moisturization and nourishment it needs this winter.
The film is a simple yet powerful representation of the brand’s philosophy and product proposition of “goodness inside.”
Talking about the campaign, Mamaearth co-founder and chief information officer Ghazal Alagh said, “With the growing awareness of the benefits of traditional ingredients and recipes, millennials are increasingly looking for products with natural ingredients that are safe. Mamaearth has been striving to bring together nature’s goodness with science and create a product portfolio inspired by our grandmother’s kitchen recipes and filled with goodness inside. Honey and malai are very common ingredients that we have seen at home for ages; hence, we decided to launch this range and present to our consumers a product that provides the goodness of these ingredients hassle-free. Through this film, we have tried to highlight the latest proposition and offering, and we are certain it will resonate with the millennials, and they will choose nature’s goodness with Mamaearth’s Honey Malai range.”
“I have always strongly believed in traditional homemade tricks and age-old self-care hacks. One of the reasons for partnering with Mamaearth was their strong foundation in keeping the ethos of Ayurveda alive with ancient recipes innovating and catering to modern consumers today. With the Mamaearth Honey Malai Cold Cream, the brand reiterates its belief in the goodness of nature, not just in caring for your skin but also Mother Earth, and I hope the consumers relate to the film and choose Mamaearth goodness as I did,” says Shilpa Shetty Kundra.
Estoot founder Navkiran Brar added, “This campaign showcases our shared creative ethos: simple stories that are clutter-breaking. By mixing humour with traditional wisdom – like Honey Malai for dry winter skin – we’ve created an honest communication piece that will resonate with viewers of all ages.”
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.
