MAM
Radhika Apte: Face of the Ritu Kumar Festive Winter 2019 campaign
MUMBAI: This season Ritu Kumar Festive Winter 2019 collection interprets Asia’s rich textile heritage with clean lines and silhouettes celebrating the contemporary Indian woman with Radhika Apte as the face of the campaign who epitomizes the spirit of the Ritu Kumar woman.
The campaign features a voiceover narration by Radhika Apte of the Hindi translation of Nobel laureate Rudyard Kipling’s poem “If”. “If” is a timeless poem that is as relevant today as the day as it was written. Inspiring and motivating, the lyrics convey Rudyard Kipling’s advice on how to win at life and above all how to be a better human being, man or woman.
The standout lyric from the poem “He beti sabse barh kar, tum naari ho, tum shakti ho!” has inspired the hashtag for this campaign #NaariTumShaktiHo.
The ethos and essence of the Ritu Kumar woman is one who is ready take on the world fearlessly but with humility. The lyrics of “If’ mirror the values of brand Ritu Kumar perfectly and Radhika Apte is the personification of the Ritu Kumar woman. With Radhika’s narration of ‘If” she takes over the baton from Nimrat Kaur who also read the poem as part of the Festive Winter 2017 campaign.
The Ritu Kumar Festive Winter 2019 collection features a palette of earthy tones, blazing burgundy and sap greens. Key fabrics include woven jacquards, feather-weight cotton, Chanderi, and silk treated with traditional vegetable dyes. Silhouettes are traditional but with a twist; kurta dresses and draped saris that can be worn as one -pieces or paired with bottoms; tunics with asymmetric hemlines and jumpsuits that can be layered.
Scarves are a key accessory, worn just as or styled as belts and head scarves to add an element of whimsy and print. Placement prints featuring archival Ritu Kumar patterns continue to feature heavily in the collection. Embroideries in the collection range from Kutch to Kashmiri Jamaawar. The incorporation of metallic threads with Mukaish, Aari and Kamdaani detailing make the festive classics your go-to styles for this season.
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.
