MAM
Time for condom brands to review their storytelling
MUMBAI: Ironically, when it comes to advertisements, condom players don’t know how to play it safe. Condom ads have been at the centre of numerous controversies owing to the erotic nature of the storytelling. Several governments have taken a strong stand against sleazy ads.
Condom advertising in the US has been a much-debated topic for the longest time. At first, advertisements for condoms were mostly limited to men’s magazines such as Penthouse. The first television ad, on the California station KNTV, aired in 1975 but was quickly pulled off after it provoked the ire of people. Years later, the first condom commercial on US television aired in 1991.
Condoms have been available in India since the 1940s but the first mass-distributed condom was introduced in 1963 under the name of Kamaraj (pseudonym of Indian cupid Kamadeva) but K Kamaraj was then the president of the ruling party, Indian National Congress. Hence, a new name for the condom was chosen: Nirodh that means protection in Hindi.
In 1952, the Government of India established the first national family-planning programme in the world. At this time, condoms were privately manufactured and sold at high prices. Only the rich could afford the price of 25 paise even though population growth rate was the highest amongst the lower-income groups. In the late 1980s, several TV commercials were developed to create awareness about Nirodh. But the message from these advertisements was not clear about what a condom was, who used it, where would one get it or that it was distributed free of cost.
It was in 1991 that KamaSutra condoms seduced viewers with erotic images of Bollywood actors, linking condoms to pleasure for the first time. Today, you have plenty of condom brands but all of them rely on the same creative–sensual and explicit scenes. Durex, Manforce, Playgard, Skore and others have resorted to the same storytelling through the years.
They have not wavered from using the ‘sex sells’ motto to grab eyeballs. The Glitch co-founder and content chief Varun Duggirala thinks that the audience has matured but is still being considered as naive.
It was in December 2017 when the Ministry of Information and Broadcasting (MIB) decided to ban condom advertisements on television between 6 am to 10 pm. The move was directed after the Advertising Standards Council of India (Asci) approached the MIB for withdrawing condom ads that were telecast during prime time or ‘family-viewing time’. The council was reacting to complaints regarding the kind of content condom brands showed in ads, which was not necessarily suitable for kids and teenagers. Asci, in its letter to the ministry, specifically stated that ads that were explicit and vulgar in nature should be aired only between 10 pm and 6 am.
Havas India CEO Nirmalya Sen thinks that in India, the category has, to an extent, called the recent ban upon itself with mindless use of sex to sell condoms. He adds that this ban, in fact, could well be the catalyst the brands in the category need to act responsibly and be creative.
Ajay Rawal, general manager of marketing for JK Ansell, maker of KamaSutra sexual wellness products, believes brands need to change their communication now and move away from using erotic ads. “Things have changed drastically in the last decade and the option to view eroticism is now easily available online. Millennials today are not interested in seeing this kind of content and want to see a creative that is relatable, realistic and memorable for them,” he adds.
Interestingly, condom ads on digital are more creative than the TV ones – skewed to showing their use and benefits.
Condom makers don’t use these ads on TV because of the cost involved in buying ad slots where they don’t want to risk their necks.
Rawal notes that the advertising spends in the condom category are pithy compared to the giant FMCG category. “If a condom brand wants to create a new communication that does not have eroticism and sexual overdose to it, it has to be memorable and a lot of effort needs to be put in creating resonating, real and relatable stories,” he adds.
While stating that India is still a conservative country when it comes down to sex, Dentsu One president Harjot Singh Narang mentions that companies tend to resort to the easiest part of storytelling—to have lots of sex without any fear—which is why most condom ads show romanticising situations on air. “Internationally, brands have moved over sexuality in ads and are talking about where it actually fits in the consumer’s life. In India, Durex is taking that route but we still have a long way to go,” he says.
Historically, most condom purchases were made by men and that’s why the focus has predominantly been on the male audience. But since using contraception is essentially a woman’s call, maybe there is a need for change in communication and have more female protagonists in ads.
While raising a point that why condom advertising in India stops at soft porn, Narang concludes that it is time for brands to build deeper relationships with consumers by creating engaging content as it is the need of the hour.
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.
