MAM
This festive season, SPACES launches its second edition of the Rangana collection with a campaign inspired by traditional Indian art
MUMBAI: SPACES, Welspun India Limited’s marquee textile brand, has launched a unique campaign to introduce its limited-edition festive range – Rangana Collection. Having received great response from the consumers last year, the brand has introduced the collection again, with a variation. Known for its thoughtful designs, the collection draws inspiration from the vibrant art forms from across India thereby celebrating the diverse cultures of each region.
From Onam and Pujo to Dussehra and Diwali, post September, India witnesses a plethora of festivals whereby people not only purchase home décor to adorn their homes but also to gift others. Taking cognizance of this, SPACES launched its Rangana collection that reflects and celebrates the traditional Indian art forms. It embodies six art forms – Ajrakh, Madhubani, Gulrana, Vallam, Debjani & Patachitra – that weaves in the authentic folk heritage and brings alive the culture, rituals, beliefs and the essence of festivity. The designs in this collection are crafted in a way that is apt for modern way of celebrating festivals, while drawing the millennial consumer to such ancient art forms.
Being a brand that believes in being thoughtful, SPACES is contributing a certain percentage of proceeds from the sales of Rangana collection to the artisans’ community. The funds will be used to support and encourage the development of these communities.
The campaign kick starts with two digital films conceptualized by Ogilvy that depict how the Indian art forms are translated into awe-inspiring bedsheets. The first film, which narrates the exquisite tales from the land of Kashmir, portrays a woman sitting on the bed trying earrings from a beautiful Gulrana jewellery box. With the sound of the doorbell, she leaves the room leaving the box behind on the white bedsheet. The scene then shows how the intricate Gulrana design on the box shimmers and starts growing beyond the box, spreading all across the bedsheet. The second film is based on Bihar’s art form – Madhubani. The film begins with a beautiful Madhubani scene painted across a mud wall in a village, which comes alive depicting men, women being chased by a lion. At the growl of the lion, the leaves in the painting fly onto the white bedsheet that is drying adjacent to the wall.
Commenting on the campaign, Ms. Manjari Upadhye, CEO, Domestic Business, Welspun India said, “SPACES is synonymous to thoughtful living with its unique designs and innovative products. It is a brand that weaves contemporary and traditional designs on bed, bath, coordinates. In line with this ethos, the new Rangana Collection celebrates the Indian traditional art forms with a modern touch. Through our campaign, we aim to revive our ancient art forms and rich heritage. Taking forward the idea of thoughtfulness, we are also giving back to the society by contributing to the growth of the artisans’ community.”
Speaking on the campaign, Srreram Athray, Group Creative Director, Ogilvy said, "As Rangana's designs are all inspired by traditional Indian art, we came up with a simple idea to make that connection. And we threw in a bit of entertainment too”.
The campaign will be promoted across various digital platforms, OOH, retail branding and in-cinema video ad promotions.
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.
