MAM
adidas by Stella McCartney debuts performance apparel prototypes in continued push to create a more sustainable future for sport
MUMBAI: Today adidas makes strides in the continued drive to solve the problem of product waste with the introduction of two new apparel innovations within adidas by Stella McCartney – the first 100% recyclable hoodie created from garment waste with NuCycl™ fiber by Evrnu and a tennis dress created with Microsilk™ and cellulose blended yarn.
With the world producing an estimated 92 million tonnes of textile waste every year1, adidas by Stella McCartney and partners are helping turn this problem into a more sustainable design solution. The new eco-conscious products were developed as part of adidas’ open source approach to creation in collaboration with, Evrnu and Bolt Threads:
adidas by Stella McCartney Infinite Hoodie was created with advanced textile innovations company Evrnu. The performance garment signals a move towards a reality where products can be completely recycled and repurposed. Using NuCycl™ by Evrnu technology, the Infinite Hoodie is made from 60% NuCycl™ and 40% organic cotton that has been diverted from landfills and can be reused again and again to be remade into high-performance product.
adidas by Stella McCartney Biofabric Tennis Dress is a prototype concept incubated in partnership with Bolt Threads, a company that specialises in bioengineered sustainable materials and fibres. The tennis dress is the first of its kind, made with cellulose blended yarn and Microsilk™, a protein-based material that is made with renewable ingredients, like water, sugar, and yeast and has the ability to fully biodegrade at the end of its life.
The inspiration behind the products is simple, create product that not only performs for the athlete, but also for the world at large. To realise this ambition, adidas is exploring ways to minimise waste via three focus areas:
Made with Repurposed Plastic targets one of the biggest challenges facing the brand today – reducing the dependency on virgin use plastics and CO2 emissions associated with production. The first solution to this problem was seen in 2015 with the launch of the first adidas x Parley prototype shoe, created from upcycled marine plastic waste and illegal deep-sea gillnets. In the four years since, adidas has built a supply chain for scale and will make 11 million pairs of shoes using Parley Ocean Plastic by the end of 2019, with the goal to use only recycled polyester in products by 2024.
Made to be Remade is the next step, creating a completely circular loop where products won’t end up on beaches or landfills in the first place. Through closed systems, raw materials can be broken down and remade into high performance sportswear, as seen earlier this year with the launch of FUTURECRAFT.LOOP, a recyclable performance running shoe that can be returned and repurposed into another shoe, and today with the reveal of the adidas by Stella McCartney Infinite Hoodie.
Made to Biodegrade is the future-gazing ambition to create a bionic loop where products have the capability of being completely biodegradable and return to the natural ecosystem. Using materials developed from natural resources or made from cells and proteins in a lab, as seen with the adidas by Stella McCartney Biofabric Tennis Dress concept, adidas has demonstrated the possibility to create products using materials that are made with nature, and is a step in the brand’s journey to explore innovative solutions that can, at some point, also return to nature.
James Carnes, Vice President of Strategy Creation at adidas, said: “Creating products with upcycled plastic waste was our first step. The next challenge is to end the concept of waste entirely. Focusing on three core areas, we will explore ways to create products that can either be fully recyclable or biodegradable. We don’t have all the answers and we know we can’t do it alone. By collaborating with partners who share our same vision, as we’ve done with Evrnu and Bolt Threads, we can combine adidas’ sports industry expertise with specialist knowledge to bring about a waste-free world.”
Stella McCartney, said:“Fashion is one of the most harmful industries to the environment. We can’t wait any longer to search for answers and alternatives. By creating a truly open approach to solving the problem of textile waste, we can help empower the industry at large to bring more sustainable practices into reality. With adidas by Stella McCartney we’re creating high performance products that also safeguard the future of the planet.”
The unveiling of the Infinite Hoodie and Biofabric Tennis Dress coincide with the launch of the adidas by Stella McCartney Fall/Winter 2019 collection which features innovative fabrics, created in more sustainable ways without compromising performance of style.
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.
