MAM
Van Heusen presents ‘Carry Your World’ campaign with Jacqueline Fernandez
MUMBAI: Van Heusen, India’s leading power dressing brand from Aditya Birla Fashion and Retail Ltd has launched a comprehensive `Carry your World’ campaign featuring India’s leading Bollywood star Jacqueline Fernandez across 60 cities for two months.
The campaign, conceptualised by Famous Innovations, will be featured in multiple mediums such as television, print and online as well. A 40-second video will be launched across digital channels and movie screens and will be supported through diverse print and TV promotions in the coming months.
The commercial symbolically puts the spotlight on the Van Heusen Woman who is an independent and a modern woman, willing to define life on her own unique terms and make her mark on the world. Armed with a sprightly attitude and a fresh perspective, she uses fashion as a means to show her passion.
Speaking on the campaign, Van Heusen COO Abhay Bahugune said, “The newest ‘Carry Your World’ campaign celebrates the effortless style that resonates the independent and empowered woman of today. The premise of the campaign seeks to explore the brand’s identity through language and emotion, to shine a spotlight on our newest handbag collection where fashion and functionality meet mobility in every piece. We are proud to associate with Jacqueline Fernandez as she personifies with the brand personality.”
Commenting on the video launch, Famous Innovations founder and CCO Raj Kamble said, “A power figure, a fashion icon and a go-getter, Jacqueline Fernandez perfectly embodies the ethos of Van Heusen Woman. Our brief was to bring alive the functionality of Van Heusen’s hero bag, which is designed keeping in mind the modern woman’s lifestyle. We started with the insight that the ambitious woman of today is always on the go and the long, dynamic days mean that she needs to be prepared for anything. Therefore, she carries her world with her. We’ve portrayed the same in the film in a visually interesting manner.”
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.
