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August 31, 2025
Akanksha Nagar, Storyboard18
31 August 2025
The latest round of US tariffs- a steep 50% duty that kicked in last week- is reshaping the playbook for Indian brands eyeing global markets. While exporters brace for tighter margins and logistical hurdles in the US, experts say this disruption could be a defining moment for Indian consumer brands to shine globally by leaning on innovation, design strength, and the untapped potential of India’s domestic consumption story.
“With the 50% tariffs kicking in, what will India do? Expect an inward-looking India! Expect a deep focus on #IndiaForIndia as marketers develop the India-consumption story for Indian produce. Expect even a Swadeshi movement Ver 3.0. MNCs in India face pressure,” says brand guru Harish Bijoor, founder of Harish Bijoor Consults Inc.
Riding high on this wave is India Circus, which is emerging as one of the fastest-growing players in the new-age home décor space. With a growing appetite for aesthetics, the brand is redefining how Indians furnish their homes. As urban consumers grow more design-aware and seek products that reflect personal taste and cultural identity, design-forward brands are carving out their own niche.
“Consumers today want more than just functionality. They want form, flair, and a sense of identity in their living spaces,” says Devangshu Dutta, founder and CEO of Third Eyesight. This shift, he explains, is creating tailwinds for brands that can deliver both design value and cultural resonance.
But he also adds a note of caution in the tariff context: “Indian brands that are being exported to the US face margin pressures and reduced US market access, both due to import tariffs and due to logistical barriers. They may need to hold inventory in the US to reduce the tariff and shipping impact, but that would also be at a certain cost and loss of agility.
It is an opportune time to focus on exports to other markets. Of course, no other single market would have the scale offered by the USA, so it will perhaps be more expensive and a more fragmented growth.”
Founded by Krsnaa Mehta and now part of the Godrej Enterprises Group, India Circus has found the sweet spot between Indo-contemporary aesthetics and wide accessibility.
From crockery with 22-carat gold accents to tropical wallpapers and statement furniture, its design-led offerings have struck a chord with India’s style-conscious consumers. The brand has also forayed into fashion, while preparing to tap international markets through a new e-commerce platform. “Design is not just an add-on for us; it is our core. Every collection begins with a story, and that’s what keeps our customers coming back,” says Mehta.
On the impact of Trump’s tariffs, Mehta clarifies that the brand remains largely insulated.
“Our major consumer base is in India, we have been focused on expanding our reach and tapping unexplored markets in India. India has so much potential- the newer markets of tier-2 cities like Lucknow, Gurugram, Chandigarh, Ambala are exceptional and the buying power of our consumers has increased significantly in the past few years. So we are not really worried about the tariffs, considering that our designing, production and selling is totally in India. Yes, we do export to the US, but it is not really comparable to what we do in India.”
Yet, he views the moment as a wake-up call for Indian brands globally.
“As a proud Indian brand, we have always been at the forefront of innovation, evolving our design aesthetics from bold prints to more contemporary ones. Our consumers are now visually informed and thus we must keep evolving. It is not just moving ahead but also embracing our roots and creating what is best for not just one but for all. India Circus has always tried to democratise design, by making it affordable and providing great quality at great prices.”
India Circus’s growth is fueled by an omnichannel strategy that blends a strong digital presence with 18 (soon to be 28) offline stores, while aggressively expanding in tier-2 cities.
The brand is targeting ₹400 crore in revenue by FY2026, up from its current ₹100 crore. Having recently launched international website to serve the Middle East and Asia, tt is also exploring categories such as gifting, licensing, and royalty-based partnerships, alongside plans to scale manufacturing. Warehousing in Europe and North America is also under evaluation.
“The growing demand for sustainable, high-quality products has contributed to our growth, as consumers increasingly seek out brands that share their values. Our designers leverage consumer insights, in-house research, and sales data to create products that are both stylish and relevant. We proudly invest in Indian craftsmanship and manufacturing, eschewing imports from countries like China. This approach not only supports local economies but also enables us to maintain quality standards,” Mehta says.
Meanwhile, brands like Chumbak, who were once synonymous with playful, funky aesthetics, have had a patchier journey in the domestic market. At one point, Chumbak had drawn strong private equity interest and grew aggressively, only to later downsize and recalibrate. But Bisen cautions against equating it with India Circus: “Chumbak has always been broader in scope, and that universality may have made it less nimble when it came to capturing specific consumer segments within home decor.”
India Circus, in contrast, has stayed tightly focused, defining its identity around a clear aesthetic and target audience. This discipline, experts say, is crucial in a market that’s growing but fragmented.
“Most brands in the design-led home space operate in sub-categories. Very few cover the full décor spectrum,” Dutta notes. “The key is having a well-defined look and sticking to it.”
According to Statista, in 2025, India’s home décor market was worth $2.13 billion and is projected to grow at a CAGR of 8.6% through 2029. In comparison, the US market stands at $37 billion.
India’s growth is powered by its rising middle class, a young population hungry for differentiated products, and cultural emphasis on interior design. With gifting and new household formation boosting demand further, design-led Indian brands are positioned for deeper expansion, both at home and abroad.
For now, India Circus is leading that charge, proving that even as tariffs disrupt trade flows, Indian creativity, design, and resilience are ready to outshine globally.
(Published in Storyboard18)
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August 21, 2025
Praveen Paramasivam, Reuters
August 21, 2025
Summary
India's luxury beauty market to quintuple by 2035
Domestic brands account for less than a tenth of sales
Global brands modify offerings for IndiaIndia’s luxury beauty market is expected to quintuple to $4 billion by 2035 from $800 million in 2023, driven by its young, affluent, social-media savvy shoppers with rising disposable incomes, consulting firm Kearney and luxury beauty distributor LUXASIA said in a report.
Luxury beauty makes up just 4% of the $21-billion beauty and personal care market, compared with 8% to 24% across top Southeast Asian countries and 25% to 48% in developed markets including China and the United States.
That means there is plenty of room for growth.
“India is the last bastion of growth for premium beauty,” said Sameer Jindal, managing director for investment bank Houlihan Lokey’s corporate finance business in India.
“The Indian consumer is willing to experiment and try out new things.”
U.S. beauty giant Estee Lauder home to the brands Clinique and MAC, expects a strong runway for expansion and long-term growth in India, even as it grapples with soft sales in the Americas and Asia-Pacific.
“India today, within the Estee Lauder network, is looked at as one of the priority emerging markets,” said country general manager Rohan Vaziralli, highlighting plans to initially target 60 million women in the nation of more than 1.4 billion.
Homemaker R. Priyanka, based in the southern city of Chennai, said she was thrilled to have better access to Estee Lauder’s Jo Malone London fragrance in India, as a benefit of the companies’ efforts.
“It is easier than asking someone (abroad) to get it for you every time,” she added.
While global beauty brands might have to modify some of their products for India, which bakes in sultry temperatures in summer and oppressive humidity at other times, they face little competition from homegrown brands.
Kearney and LUXASIA identified only Forest Essentials and Kama Ayurveda as their major rivals, underscoring how domestic brands make up less than a tenth of luxury beauty sales.
In the more established markets of China, Japan and South Korea by comparison, domestic brands account for a 40% share.
“There is, of course, a premium perception gap between globally established brands and Indian brands,” said Devangshu Dutta, founder of retail consultancy Third Eyesight.
Global beauty giants’ huge marketing budgets also give them an edge over domestic brands, other industry watchers said.
WOOING INDIAN SHOPPERS
Estee Lauder is studying online sales patterns to identify the smaller cities to target, such as Siliguri in West Bengal state, partnering with designers such as Sabyasachi Mukherjee, and launching products such as kohl, an eyeliner Indians favour.
It has also invested in Forest Essentials, a brand with herbal ingredients, and in a programme offering funding to domestic beauty start-ups.
This year France’s L’Oreal said it was investing more in India and tapping into the “elevated beauty desires” of the nation’s young, digitally savvy, empowered women shoppers to drive growth. It declined further comment.
South Korea’s Amorepacific, known for brands such as Innisfree and Etude, is trying to leverage the Korean beauty craze in India with products geared to the market.
These include items for the popular “cleanser, serum, moisturiser, and sunscreen” beauty regimen, the country head, Paul Lee, said.
Japan’s Shiseido, with a history of more than 150 years, brought its NARS brand to Indian beauty retailer Nykaa’s website this year, and plans to step up growth of its brands in the subcontinent.
Global brands are very excited about India, where consumers are splurging more to stay on top of trends such as “cherry makeup”, Nykaa co-founder Adwaita Nayar said, referring to a look featuring flushed cheeks, glossy lips, and soft pink eyes.
Amazon, which has also been seeing a big boom in beauty demand in India, aims to identify emerging global trends and bring in more brands, said Siddharth Bhagat, director of beauty and fashion at the e-commerce company in India.
Retailer Shoppers Stop, which also pioneers foreign labels, plans to open 15 to 20 beauty stores in each of the next three years to boost its revenue from the segment to a quarter from less than a fifth now, its beauty business CEO Biju Kassim said.
Reporting by Praveen Paramasivam in Chennai; Editing by Dhanya Skariachan and Clarence Fernandez
(Published on Reuters)
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August 6, 2025
Naini Thaker, Forbes India
Aug 06, 2025
It’s a known fact that of the thousands of startups founded each year, only a small fraction survive—and even fewer scale to become unicorns. Rarer still are those unicorns which, after reaching dizzying heights, come crashing down. The Good Glamm Group is one such cautionary tale.
Once celebrated as a unicorn that cracked the code on content-to-commerce, the company’s meteoric rise was matched only by the speed of its unravelling. At the heart of its downfall lies a critical misstep: The relentless pursuit of growth through acquisitions and brand launches, even as cracks in its house-of-brands model began to show. Instead of pausing to consolidate and build sustainably, Good Glamm doubled down—prioritising valuation over viability.
That strategy came to a head on July 23 when founder and CEO Darpan Sanghvi announced the dissolution of the group’s house-of-brands structure. In a LinkedIn post, Sanghvi confirmed that lenders would now oversee the sale of individual brands, effectively ending the company’s vision of building a digital-first FMCG conglomerate.
Despite raising $30 million in 2024 and undergoing multiple rounds of restructuring, the group failed to integrate its acquisitions or generate sustainable profitability. With key investors such as Accel and Bessemer Venture Partners exiting the board and leadership turnover accelerating, the company’s ambitious empire—built on rapid expansion and aggressive brand aggregation—has now been reduced to a lender-led breakup.
In the aftermath of the announcement, Sanghvi offered a candid reflection on what went wrong. “In hindsight, it wasn’t one decision, one market force, or one acquisition. It was three levers we pulled, which together, turned Momentum into a Trap,” he wrote in a LinkedIn post. According to Sanghvi, the group’s downfall stemmed from doing “too much, too fast and too big”.
He elaborated: “At first, Momentum feels like your greatest ally. Every headline, every funding round, every big launch is a shot of adrenaline. And you start believing you can do more and more and more. But momentum has a dark side. If you stop steering and go in a hundred different directions, it doesn’t just carry you forward, it drags you faster and faster until you can’t breathe.”
Where The Model Broke?
In October 2017, Sanghvi launched direct-to-consumer (DTC) beauty brand MyGlamm. Most brands at the time were big on selling on marketplaces such as Amazon or Nykaa. However, Sanghvi believed, “We wanted to be truly DTC and not just digitally enabled. We believed that to own the customer, the transaction needs to happen on our own platform.”
But the biggest challenge with being a DTC brand is its customer acquisition cost (CAC). Towards the end of 2019, the company was spending about $15 (over ₹1,000) to acquire a customer to transact on their website. “Around the same time, our revenue run rate was ₹100 crore. We were spending about $0.5 million to acquire 30,000 customers a month. That’s when we realised it was time to solve the CAC problem,” Sanghvi told Forbes India in 2022. In an attempt to find a solution, Sanghvi turned to the content-to-commerce model.
And then, started the acquisition spree. According to Sanghvi, with a single brand in a single category one can’t build scale. He told Forbes India, “The most you can scale it is ₹1,000 crore, if you want a company that’s doing ₹8,000 or ₹10,000 crore in revenue, it has to be multiple brands across multiple categories.” In hindsight, this perspective might be debatable.
As Devangshu Dutta, founder of consultancy Third Eyesight, points out, the “house of brands” model is essentially a modern-day consumer-facing business conglomerate—and its success hinges on multiple factors working in harmony. While there are examples globally and in India of such models thriving, both privately and publicly, the reality is far more nuanced. “Brands take time to grow, and organisations take time to mature,” Dutta notes, emphasising that rapid aggregation of founder-led businesses under a single ownership umbrella is no guarantee of success.
In recent years, Dutta feels the influx of capital into early-stage startups and copycat models—often seen as lower risk due to their success in other geographies—has shortened business lifecycles and inflated expectations. The hope is that synergies across the portfolio will unlock outsized value, but that rarely plays out as planned. “It is well-documented that more than 70 percent of mergers and acquisitions fail,” he adds, citing reasons such as weak brand fundamentals, lack of synergy, inadequate capital, limited management bandwidth, and internal misalignment.
In the case of Good Glamm, these fault lines became increasingly visible as the group expanded faster than it could integrate or stabilise.
Scaling Without Steering
In FY21, the company had losses of ₹43.63 crore, which rose to ₹362.5 crore in FY22 and went up to ₹917 crore in FY23. Despite the mounting losses, Good Glamm marked its entry into the US market, in a joint venture with tennis player Serena Williams to launch a new brand—Wyn Beauty by Serena Williams. The launch was in partnership with US-based beauty retailer Ulta Beauty.
For its international expansion, it invested close to ₹250 crore over three years. “We anticipate that the international business will account for 25 to 35 percent of our total group revenues by the end of next year. This strategic focus on international expansion is pivotal as we prepare for our IPO in October 2025,” he told Forbes India in April 2024.
Clearly, things didn’t pan out as expected. As Sanghvi rightly points out, it was indeed a momentum trap. “You tell yourself you’ll fix the leaks after the next milestone. But the milestones keep coming, and so do the leaks. Soon, you’re running from fire to fire, never realising that the whole building is getting hotter. And somewhere along the way, you lose the stillness to think,” he writes on his LinkedIn post.
Dutta feels that a strong balance sheet is the most fundamental requirement, “to provide growth-funding for the acquisitions or for allowing the time needed for the acquisitions to mature into self-sustaining businesses over years. In the case of VC-funded businesses, the pressure to scale in a short time can go against what may be best for the business or for its individual brands”.
The Good Glamm Group’s fall is a reminder that scale alone doesn’t build resilience. Its story reflects the risks of expanding faster than a business can integrate, and of prioritising valuation over value. The house-of-brands model can work—but only when backed by strategic clarity, operational discipline, and patience. This is less a warning and more a reminder for founders: Scale is not success, and speed is not strategy.
(Published in Forbes India)
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August 5, 2025
Aakriti Bansal, Medianama
August 5, 2025
MediaNama’s Take: Swiggy is shifting from individual convenience to workplace capture. With DeskEats and Corporate Rewards, the company is embedding itself directly into the workday. This move is not just about food delivery. It is about becoming part of employees’ daily routines. More repetition leads to more orders, stronger retention, and access to a new layer of user behaviour: professional identity.
This approach draws from older models like office canteens and Sodexo meal cards. However, Swiggy reworks it for the app economy. Instead of fixed menus or closed ecosystems, it offers personalized choices tied to employer-subsidised benefits. That creates stickiness. When a company supports one app and offers discounts, switching becomes less likely.
The key question now is whether this integration creates lasting value or opens up new responsibilities. These include questions around consent, profiling, and where to draw the line between workplace systems and digital platforms.
What’s the News
Swiggy rolled out DeskEats, a curated food delivery collection for working professionals, in 30 cities and over 7,000 corporate hubs, according to Storyboard18. MediaNama also reviewed the feature on the Swiggy app. The collection includes categories like Stress Munchies, Healthy Nibbles, One-Handed Grabbies, and Deadline Desserts, aimed at common workday cravings.
During the pilot, DeskEats reached 14,000 companies and 1.5 lakh employees. Users can find it in the app by typing “Office” or “Work.”
Swiggy also launched Corporate Rewards, which lets users access benefits by verifying their work email. These include flat Rs 225 off food orders, Rs 2,000 off on Dineout, and Rs 100 off on Instamart.
On LinkedIn, Swiggy VP Deepak Maloo described Corporate Rewards as the professional version of its earlier Student Rewards program which offers perks like free deliveries, flat Rs 200 discounts, and deals starting at Rs 49, tailored for students aged 18–25 across India.
Financial Context
Swiggy may have launched DeskEats while under pressure to control its burn. In Q1 FY26, it spent Rs 1,036 crore on ads—a 132% jump and posted a loss of Rs 1,197 crore. DeskEats and Corporate Rewards offer a way to stabilise repeat orders without over-relying on discounts or ad spending.
The company’s adjusted Earnings Before Interest, Taxes, Depreciation and Amortisation (EBITDA) loss widened to Rs 813 crore. Overall, food delivery revenue grew by 20.2% year-over-year to Rs 2,080 crore, with order volume growing by 23.3%. At the same time, newer formats like ultrafast Bolt and SNACC are aimed at increasing consumption frequency and improving retention. These efforts signal Swiggy’s larger bet on everyday integration to drive value.
Platform Strategy and Corporate Integration
DeskEats gives Swiggy access to dense, time-sensitive demand during work hours. Devangshu Dutta, founder of Third Eyesight, says this helps streamline operations: “By integrating directly with workplaces, Swiggy can anchor itself in employees’ daily routines and provide a more predictable stream of orders.”
He adds, “Scheduled office meals create habitual consumption patterns and increase customer lifetime value, especially when the employer endorses a single platform and offers a favourable price-value mix.”
“This is the age-old model followed by contracted office canteens or cafeterias as well, but updated to the mobile app era, with more flexibility in terms of the items that an individual can order based on their own preferences”, Dutta added.
Furthermore Dutta opined, “Adoption is likely to be more in the larger cities where there is a greater concentration of demand and out-of-home consumption is higher among migrant professionals with high discretionary spending power.”
Data, Consent, and Workplace Targeting
To access Corporate Rewards, users verify with their work email. Swiggy hasn’t said whether it collects additional employee data or whether employers see usage metrics. It’s also unclear if enrolment is opt-in or automatic.
This concern mirrors recent questions raised about Zepto, which began recommending mood-specific product bundles like “Crampy” or “Ragey” based on user searches for PMS. Critics pointed out that such inferences may not be accurate and are often made without the user’s explicit awareness. Zepto’s privacy policy permits broad data collection, including health and behavioural patterns, but lacks clear disclosure on profiling. While Swiggy may not be doing this visibly, the direction of workplace-linked behaviour data raises similar concerns under India’s Digital Personal Data Protection Act (DPDPA), which still doesn’t regulate inferred or behavioural data clearly.
As this model scales, it raises questions under India’s DPDPA especially around purpose limitation and workplace-based profiling.
Why This Matters
Swiggy’s push into the workplace mirrors a broader shift across the food delivery market. Zomato recently launched ‘Zomato for Enterprise,’ a corporate food expense management platform that allows employees to charge business orders directly to their companies. With features like budgeting, ordering rules, and account toggling between work and personal use, Zomato is positioning itself as a paperless, digital alternative to legacy players like Sodexo. According to CEO Deepinder Goyal, over 100 companies have already onboarded the platform.
This move signals intensifying competition in the enterprise food space. While Zomato focuses on billing and reimbursements through employer-tied accounts, Swiggy is targeting recurring workplace consumption through curated menus and behavioural nudges. Both platforms appear to be building business-facing verticals that go beyond consumer ordering, aiming to lock in institutional clients and expand platform dependency within the workspace.
Unanswered Questions
MediaNama reached out to Swiggy with the following questions. The article will be updated when we receive a response:
Is Swiggy positioning DeskEats and Corporate Rewards as part of a larger shift into corporate benefits?
How do companies sign up for Corporate Rewards? Are there different plans or models based on company size?
What employee data does Swiggy collect when someone signs up using their work email?
Are DeskEats and Corporate Rewards linked to Swiggy One or any other paid subscription?
How many companies and users are currently active on DeskEats?
Does Swiggy plan to scale this into a standalone B2B vertical?(Published in Medianama)
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July 28, 2025
By Meenakshi Verma Ambwani, Hindu Businessline
New Delhi, July 28, 2025
Nykaa said that Kay Beauty, co-founded with actor Katrina Kaif, has crossed the ₹240 crore mark in terms of Gross Merchandise Value.
Stars from the tinsel town are donning the entrepreneurial hat to venture into the beauty and fashion business space. Some have even succeeded in growing their brands sustainably, earning big bucks.
Take for instance Skincare brand Hyphen, co-founded by actor Kriti Sanon with Pep Brands, which recently touched the ₹400 crore-mark in Annual Recurring Revenues.
Tarun Sharma, CEO and co-founder, Hyphen told businessline: “The brand is witnessing healthy growth rate quarter-on-quarter. In the first year itself, it touched ₹100 crore ARR. We had aimed for ₹500 crore ARR in 3-4 years and, within two years, we are at ₹400crore ARR.” Pep Brands led by Sharma owns mCaffeine and Hyphen.
The model that works
Sharma believes an operator-led, celebrity anchored model works better. ”The operator can bring in the necessary financial and execution muscle. If a celeb partners with an operator that has deep expertise in the space, then there is huge potential for growth,” he added.
“Product launches, marketing and distribution are very data-driven at Pep Brands. It guides us on what to launch, when to launch, and how to launch products. That has helped Hyphen in achieving this kind of growth rate. It is by design that the majority of the business of Hyphen is D2C,” Sharma explained.
In May, Nykaa said that Kay Beauty, co-founded with actor Katrina Kaif, has crossed the ₹240 crore mark in terms of Gross Merchandise Value. On an earnings call for Q4FY25, Adwaita Nayar, Executive Director, Chief Executive Officer, Nykaa Fashion, said: “Kay Beauty is one of the fastest-growing brands on the platform. It’s hit about ₹240 crore of GMV. The innovations have been fantastic this year. So, it is quite a premium brand, and I think the consumers are accepting it even at that price point. It’s got great gross margins.”
Earlier this year, Reliance Retail Ventures announced that it has decided to acquire 51 per cent stake in Ed-a-Mamma , a kid and maternity wear brand founded by actor Alia Bhatt. According to some reports, Hrithik Roshan’s sportswear brand HRX is a ₹1,000 crore brand.
Among the recent entrants are Ranbir Kapoor, who has decided to foray in the apparel and accessories space with ARKS. Launched in February, the brand has also launched its first store in Mumbai, followed by a second store in New Delhi and another with Broadway in Hyderabad.
‘Shift in preferences’
Abhinav Verma, co-founder and CEO, ARKS, told businessline: “We are seeing a shift in consumer preferences towards made-in-India brands. We decided to leverage on the strong manufacturing capability that India has to build a brand that is both aspirational and offers value. We are looking to build a ₹100 crore brand in the next 3-4 years with a strong omni-channel strategy.”
“The success of some of these brands demonstrates that building on consumer relevance and with powerful time-bound execution, celebrity ventures can become significant players in a crowded market. With consumer demand for relatability and digital-first branding on the rise, this segment will definitely grow. However, only brands that offer genuine value to consumers, and not just star appeal, are likely to endure,” said Devangshu Dutta, CEO, Third Eyesight.
(Published in The Hindu-Businessline)