MAM
Sternhagen partners with Sussanne Khan for bathware launch
Mumbai: Sternhagen, the prestigious German brand known for its luxurious sanitary ware and bathroom fittings, is thrilled to announce their new collection in collaboration with renowned interior designer Sussanne Khan. This collaboration showcases select designs by Sussanne Khan and marks a significant moment for both brands as they come together for the second time to present an exclusive range of products.
Sternhagen chairman and managing director Chirag Parekh said ‘’Our mission is to create bathroom suites with an unmistakable, visually exciting, artistic appeal so that when someone with an eye for superior design sees one of our products, they know that it could only be a Sternhagen. We’re committed to offering top-quality, artistically designed products engineered with cutting-edge materials and technologies. Our aim is to exceed customer expectations by setting new standards in design. As a design-driven brand, we will continue to innovate, creating products with new technologies and designs that uphold the Sternhagen name.”
Interior Designer Sussanne Khan, founder of The Charcoal Project, designed Sternhagan’s SK 02 Collection of bath fittings to showcase the mesmerizing innovations of the brand. The products displayed at the event included Glass Basins, Metallic Basins and Ceramic Basins featuring art inspired by Moroccan tessellations and tilework. In essence, Sternhagen’s latest collection is more than just a range of bathroom ware; it’s a celebration of the enduring allure of the equestrian aesthetic, reimagined for the modern luxury connoisseur. With its earthy tones and classic yet modern design elements, each piece pays homage to the timeless elegance of the equestrian world while infusing it with a contemporary flair. Additionally, Sternhagen also launched its Smart WC, a technological innovation that features smart controls and 15+ functions.
Commenting on the collaboration Sussanne Khan stated, “We are excited for this collaboration with Sternhagen to showcase our unique styles in a fun and engaging way, while also highlighting the exceptional functionality and elegance of the brand. We can’t wait for everyone to see the exciting results of this campaign!”
Born out of the prestigious Carysil Group, the world’s 4th largest quartz sink manufacturer, Sternhagen is setting new benchmarks in luxury bathroom design. The brand’s global presence continues to inspire homeowners, architects, and interior designers worldwide. Combining German precision engineering with artistic design, the brand offers a diverse portfolio that caters to a variety of design sensibilities. From classic to contemporary, each product embodies sophistication, elevating the overall bathroom experience. From faucets to shower systems, bathtubs to vanities, basin mixers to tiles, every creation from Sternhagen reflects a harmonious blend of innovative technology and timeless aesthetics.
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.
