MAM
Fabindia echoed India’s 5F Vision: Pioneering sustainability and inclusion
Mumbai: Fabindia, a homegrown lifestyle brand, upheld India’s 5F vision at the Bharat Tex Global Textile Expo 2024. PM Narendra Modi’s 5F vision encapsulated a holistic approach to the textile industry, integrating sustainability, innovation, and global competitiveness. Fabindia has been at the forefront of this movement, driving positive change across the entire value chain since its inception in 1960.
Showcasing the vibrant tapestry of craftsmanship and celebrating Indian textiles in various forms — for apparel and home, under its ESG campaign ‘Designed for Impact – Community, Process and Products’. Steeped in Indian heritage, and culture and strengthened by sustainable practices, the brand is rooted in finding new methods of recycling and upcycling — spanning from exquisite home furnishings to timeless apparel pieces.
“At Fabindia, we are deeply committed to upholding India’s 5F vision as outlined by PM Narendra Modi,” stated Spokesperson, Fabindia. “Through our participation at the Bharat Tex Global Textile Expo, we aimed to celebrate the unparalleled craftsmanship of Indian artisans while highlighting our relentless pursuit of community development and innovation across all aspects of our business. With each thread, we seek to revive not just the colours of India’s rich culture but also the values that can guide us towards a more mindful and eco-conscious future. This Expo is a unique opportunity to share Fabindia’s journey over the decades, presenting sustainability initiatives to the world.”
Fabindia’s presence at the expo was designed to be an immersive experience, that demonstrated various offerings by the brand in both apparel and home collections. From mesmerizing handblock prints to elegant embroideries to magnificent weaves — the brand is committed to its eco-conscious processes and its groundbreaking initiatives aimed at empowering over 55000 artisans across various clusters.
FabHome’s collection consists of Panja Dhurries which are exquisite handwoven rugs, timeless Upholstery options, exquisitely crafted Curtains and Cushions that are perfect to add character to any space. This exhibit also presented Fabindia’s unique offerings, ‘Shunya’ and ‘Punh’ that have been up-cycled from discarded single-use plastic bottles and fabric leftover from production respectively. These ranges served as a testament to Fabindia’s ongoing efforts to create a positive impact on both society and the environment at large.
The Bharat Tex Global Textile Expo 2024 provided an unparalleled platform for industry leaders, policymakers, and stakeholders to come together and shape the future of the textile sector. Fabindia’s participation underscored its unwavering commitment to driving sustainable growth and promoting India’s rich textile heritage on a global scale.
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.
