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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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July 28, 2025
Ananditha Anand, Deccan Chronicle (Hyderabad Chronicle)
Hyderabad, 28 July 2025
Beauty is borrowing from the bakery. Be it glazed donut skin, popularised by Hailey Bieber, jam lips, or strawberry freckles – food related makeup looks, as well as cosmetic marketing trends have been at an all-time high. In June 2025, around 2 lakh users looked up latte makeup on the image-based social media platform, Pinterest.
The Novelty Value
According to social-media-influencer Yashvi Bhaia, these trends bring a sense of novelty to cosmetic products. “Take a look at one of the body washes called Whipped Lush. It feels exactly like whipped cream – fluffy, foamy and sweet. This visual being attached to the product brings a pleasant connection,” she says.
Devangshu Dutta, founder of Third Eyesight, a management consulting firm, says, “Terms like choco mousse blush or berry lip tint evokes indulgence, comfort, and a sense of reward, transforming cosmetics into emotional experiences rather than just functional items.” Dutta likened these products to comforting treats, exuding warmth and a nostalgia for food they have consumed before, bottled in these makeup products.
Dhanashree Kavitkar is an avid follower of makeup trends on platforms like Instagram, as well as Chinese sites like Douyin and Red Note. She observes that the melding of the sensory elements of food and makeup “satisfied” the consumer.
“It works almost the same way ASMR does. When I think of jelly lips, I think edible, with a plump and glossy texture. And it just hits the right spot in my brain,” she says.
She also believes that many of these beauty trends, under the guise of novelty, are repackaging pre-existing makeup trends to make it appealing again. “Take strawberry freckle makeup for example, it is literally just drawing freckles on your face, but they gave it a new name to intrigue people,” she says.
Bina Punjani, owner of Bina Punjani Hair Studio says, “These are all marketing buzz-words created by online makeup companies, who wish to advertise to a younger audience.” She explains that food related nomenclature has existed forever in the realm of hair care products, with wines, chocolates, and caramels dominating the hair colour market.
“Sensory feelings have been a huge part of marketing and communication, be it on television, or anywhere else,” said Bhaia. “Now that marketing is so video-forward online, brands will create visuals associated with food,” she says.
Dutta adds that rather than a new concept, the increased intensity and consistency of these beauty brands employing food-related marketing on social media platforms differentiate it from their marketing in the 1980s – when it was first popularised.
Cultural Adaptation
Talking about the virality aspect of these makeup trends, Kavitkar points out how the looks trending in India (and around the world right now), were popular in East Asian countries like China and South Korea a year ago.
“Thanks to the matcha wave now, strawberry matcha makeup is popular. More East Asian food items like mochi and tanghulu have also picked up steam in the makeup space, and have gotten popular globally. But they can feel a bit alien to Indian consumers who don’t know these trends beforehand,” she says. Bhaia talks about how Indian cosmetic products adapted these trends to cater to the Indian “taste.” A leading brand has come up with lip products named masala chai, and jalebi glaze.
“These are such Indian terms, and they’ve been marketed so well. When you think of jalebi, you think of this shiny, orange-ish kind of thing, and you have a very clear visual of it.”
Just Another Trend
What keeps the novelty of these trends alive? Punjani thinks that it is the familiarity that we as humans draw towards nature and ourselves. “Suppose you look at your skin tone, and you see that exact shade in a pear – you end up drawing a psychological connection between the two,” she says.
Kavitkar thinks that they bring in a new wave of experimentation. She says, “Look at tangerine dream makeup. It is a mix of yellow and orange blush on your face, which looks so weird. If you saw someone wearing yellow blush outside, you’d be like, what the hell is she wearing? But that’s the beauty of this look, it’s so out of the box.”
Dutta notes that the frequency of usage of any imagery in the industry ebbs and flows with fashions. “Food, however, consistently provides an intuitive, emotional, and relatable entry point for consumers to engage with beauty, and will remain a versatile tool for building stories around pleasure, nostalgia, authenticity, and self-care,” he says.
While the world goes ‘bananas’ over ‘latte makeup’ and ‘gingerbread nails’ you can try the silent power of ‘smokey eyes’ and nude lips!
(Published in Deccan Chronicle)
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May 7, 2025
Shalinee Mishra, Exchange4Media
May 7, 2025
Bollywood’s biggest stars, Katrina Kaif and Deepika Padukone, have reputed beauty businesses to their names — Kay Beauty and 82°East, respectively.
Kay Beauty, launched in late 2019 in partnership with Nykaa, has crossed the ₹200 crore revenue mark in 2024. In contrast, 82°E, launched by Deepika in November 2022, has managed around ₹25 crore, according to industry estimates.
Both actors have massive social media pull, strong brand equity, and sizable fan followings. They are matched in popularity, but the same cannot be said about their respective brands. One clearly has an edge over the other. In this case, it is Kay Beauty.
What went wrong with 82°E?
A core difference between the two brands is pricing.
Kay Beauty’s average product is priced affordably at around ₹299, making it accessible to a large portion of Indian beauty consumers. It hits the sweet spot of mass affordability and aspirational branding.
Katrina seems to have built the line keeping in mind India’s price-sensitive but beauty-conscious audience, especially women who look for functional, everyday products without shelling out a fortune.
On the other hand, 82°E positions itself as a luxury skincare brand, with products starting at ₹2,500 and going up to nearly ₹4,000. While targeting the premium market is a valid strategy, it demands either a very clear value proposition or a unique, standout offering that sets it apart from both domestic and global competitors.
According to multiple marketing and retail experts, 82°E currently lacks such a defining “hero” product. In contrast, top-tier global brands like Estée Lauder (Advanced Night Repair) and L’Occitane (Immortelle Divine Cream) have built their entire portfolio identity around one or two iconic products.
Devangshu Dutta, CEO of retail consultancy Third Eyesight, cautions against overestimating the power of celebrity equity alone. “Celebrity involvement, even with an equity stake, doesn’t automatically ensure brand success,” he says. “What matters is how well the product and brand resonate with the end consumer. Many factors—category selection, pricing, accessibility, and retail strategy—determine scalability.”
He adds, “A high-priced D2C brand with limited-use products will always scale slower than a more affordably priced, high-rotation brand with widespread retail availability.”
Missing the emotional connect
Another crucial area where 82°E falters is brand recall without Deepika. Experts argue that if Deepika’s face were to be removed from the branding, very little would remain to emotionally anchor consumers.
While celebrity-founded brands enjoy the initial boost of recognition, long-term consumer connection demands storytelling, product efficacy, and relevance.
For a product priced between ₹2700–₹3900, the experience and results need to justify the cost. But user feedback suggests the perceived benefits don’t dramatically exceed what one might get from a ₹999 serum in the market.
Katrina’s Kay Beauty, in contrast, positioned itself as a homegrown solution for Indian skin types, with products that worked well for deeper skin tones and humidity-prone weather.
The brand tapped into inclusivity and practicality—two emotional hooks that resonate deeply with Indian consumers. Additionally, it responded to functional needs by launching waterproof and sweat-resistant products, which especially make sense during monsoons.
On Instagram, Katrina actively promotes her products, collaborates with influencers, and shares content that resonates with her target audience. In contrast, Deepika’s brand presence on social media lacks the same level of relatability and consistent engagement, suggesting a need for a more tailored and active digital strategy.
Link: https://www.instagram.com/reel/DI_wjSRoZTM/? utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
https://www.instagram.com/reel/DIWHG1DSR5f/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
Retail footprint and distribution strategy
Skincare, particularly in the premium category, remains an experiential purchase. Consumers often want to try and test products before committing, especially at a higher price point. 82°E launched as a D2C-only brand, relying heavily on its website and social media advertising for discovery and sales with no store opening.
The strategy meant substantial upfront investment in paid media and influencer partnerships to generate traction, but lacked the physical visibility or tactile experience needed to convert high-end skincare buyers.
In contrast, Kay Beauty quickly became visible across Nykaa’s extensive online and offline retail network, giving shoppers a chance to explore products across price tiers in-store and online. The Nykaa tie-up served not only as a strong distribution engine but also as a brand endorsement in itself, given the platform’s dominant position in Indian beauty retail.
As Kushal Sanghvi, a media and marketing strategist, puts it, “Kay Beauty got its pricing, packaging, promotion, and place—basically the key P’s of marketing—spot on. Deepika’s brand, though elegant, is caught in a niche premium wellness space with limited scale.”
Kay Beauty was developed with a clear understanding of what works in India: colour cosmetics tailored for Indian skin tones and seasonal weather. The brand focused on frequently-used products like lipsticks, kajal, and foundation sticks that had both a functional and emotional appeal, allowing it to drive repeat purchases.
In contrast, 82°E focused on skincare rooted in self-care and holistic wellness, a space that is already crowded with local and international competitors, and where product effectiveness needs to be proven over time. Moreover, Indian consumers still tend to see skincare as utilitarian, rather than indulgent, which makes higher pricing even more of a challenge.
Short-Term Results vs. Long-Term Vision
It’s important to contextualise these figures within brand age. Luxury brands, globally, have often taken decades to establish loyalty. From Estée Lauder to Chanel, brand equity is built slowly through repeated use, reliable results, and consistent positioning.
But time alone won’t change the equation unless the core approach is recalibrated. If Deepika’s brand intends to build a long-lasting business, it will need to think beyond elite appeal and D2C strategy. Offline presence, a wider retail network, and possibly a reimagining of its product portfolio to include lower price points or trial-sized options could open the door to a broader consumer base.
India’s beauty and wellness market is growing at over 15% year-on-year, and opportunities abound at both the premium and affordable ends of the spectrum. But clarity of positioning and accessibility remain critical to long-term success.
(Published in Exchange4Media)
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March 20, 2025
Sagar Malviya, Economic Times
Mumbai, 20 March 2025
Established beauty product makers such as Forest Essentials, Colorbar, Kama Ayurveda, Body Shop, VLCC Personal Care and Lotus Herbals saw a slowdown in sales growth in FY24, according to the latest Registrar of Companies filings. Consumers favoured new-age rivals such as Minimalist and Pilgrim, specialised derma brands, as well as global labels Shiseido, Innisfree and Eucerin.
Sales growth of established brands mostly in the natural skincare segment, more than halved to single digits during the previous financial year amid a broader economic slump.
In contrast, companies such as L’Oreal, Nykaa and Sephora continued to grow at 12-34% on a significantly bigger base, even as they lost pace.
Direct-to-consumer brand Pilgrim more than doubled its sales, Minimalist’s revenue increased 80% and Foxtale’s sales surged 500% on a lower base.
“With most consumers tightening their budget on discretionary spends in FY24, they seem to have opted for brands that give instant benefits compared to natural products, which take time to be effective,” said Devangshu Dutta, founder of retail consulting firm Third Eyesight.
Over the past few years, there has been a flurry of beauty product launches, which have depended on platforms such as Nykaa and Tira for sales.
In the past two years, Nykaa has launched more than 350 brands, or In the past two years, or nearly one new label every alternate day on average.
This includes international brands such as CeraVe, Uriage and Versed, as well as home-grown brands such as Foxtale and Hyphen.
Reliance Retail, which entered beauty retailing with Tira two years ago, now sells nearly 1,000 brands, including exclusive labels such as Akind, Augustinus Badee, Allies of Skin, Kundal and Patchology.
“10 years ago we were only competing against big guys,” Vincent Karney, global chief executive of Beiersdorf, maker of Eucerin, Nivea and La Prakrit, told ET last month. “Now we have those local brands, and we have to become a bit more agile.”
On Nykaa, Fenty Beauty by Rihanna is the highest-selling brand in lipcare while Eucerin has become its biggest premium dermo-cosmetic serum. South Korean beauty brands Axis-Y, Tirtir and Numbuzin grew over 60% in 2024, with sales of toners increasing 104%, serums 45%, moisturisers 52% and sunscreens 154% on the platform.
VLCC and Colorbar did not respond to ET queries, while Forest Essentials was not reachable.
In January, Mike Jatania, cofounder and executive chairman of The Body Shop and Aurea Group, told ET, “There would be continuation of new entrants. Inflation is still a global issue and we will see the pressure. Competitive environment will be a challenge… 70% of our stores are showing decent growth. We have closed some stores and opened a few also, that’s the nature of the business.”
Ingredients Matter
Warnery of Beiersdorf emphasised the need to stay focused on “big innovation, by being able to talk to GenZ, (a position) which might be filled in by those local brands coming with basic ingredients.”
The likes of Minimalist, Ordinary and Pilgrim disclose active ingredients at a granular level, specifying the exact percentage of acid used in the product to appeal to GenZ users (those born between 1997 and early 2010s), who are said to be far more conscious of what they use on their skin compared to millennials (those born during 1980s to mid-1990s) and Gen X (those born from about 1965 to 1980).
Shoppers Stop, which manages brands such as Estee Lauder, Shiseido, Bobbi Brown, Mac and Clinique in India, sees the overall beauty market driven by companies focusing on consumers across age groups, and not just younger ones. Both natural and dermatological products are expected to find takers.
“While most new age brands tap younger cohorts, their pocket size allows them to mostly buy affordable products and the more affluent consumers opt for established global brands that have proven themselves since decades,” said Biju Kassim, chief executive, beauty, at Shoppers Stop. “Beauty is still not a habit in India and with hundreds of brands being launched, the focus is to grow penetration. There is also a shift from care to cure, driven by derma-recommended products and brands disclosing active ingredients, but it is still a niche sub-segment.”
Dutta of Third Eyesight sees the current trend as temporary. “We expect growth of (established) companies to bounce back in the current fiscal, driven by a strong demand for beauty,” he said, pointing especially to online platforms. India’s beauty and personal care market is expected to reach $34 billion by 2028, up from $21 billion now, driven by an online surge and a growing preference for high quality, premium beauty products according to a report by Nykaa and consulting firm Redseer.
Nicolas Hieronimus, chief executive of cosmetics giant L’Oreal, last year said consumers in India are more demanding and are not just settling for very basic things like putting an ingredient in a product such as salicylic acid or collagen. “That’s where L’Oreal has the best cards to play, and that’s where we really thrive,” he had told ET.
Beiersdorf, Unilever, L’Oreal and Shiseido, among the world’s largest cosmetics companies, have all identified India as a key growth driver, citing the burgeoning population and growing affinity for beauty products.
(Published in Economic Times)
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December 31, 2024
Jasodhara Banerjee, Forbes India
31 December 2024
Once, there was alabaster. Then, there was porcelain. And now there is glass. And no, we are not talking about the different kinds material to make fine, delicate objet d’art, but the quality and texture of facial skin—smooth, flawless and luminescent—that humans aspire to.
While a Google search for the term ‘glass skin’ will churn out hundreds of results that describe not just what the term means—tracing it to Korean skin care routines and products—but also detail the meticulous steps, varying between five and 11, that will apparently make you look like your favourite K-pop singer or K-drama actor. Like all things K (read: Korean), be it television and OTT serials, or food and clothes, K-beauty seems to have taken the Indian market by storm. A search for ‘Korean brands’ on online platforms such as Nykaa and Tira Beauty brings up more than a thousand products, ranging from ₹75 for a facial sheet mask to ₹17,900 for 60 ml of face cream. Clearly, there is something for everybody.
Fuelling this surge has been a plethora of factors, including the rise of online marketplaces that have made Indian and foreign skin care and beauty products more accessible than before, the thriving ecosystem of influencers and content creators that has revolutionised the marketing of these products, and, of course, consumer demand for products that claim to have the goodness of natural ingredients backed by the surety of science. And, surprising as it may seem, the Covid-19 pandemic and accompanying lockdowns also seem to have played a role in this.
Case in point is Amorepacific Corporation, a Seoul-headquartered beauty and cosmetics company that operates in more than 50 countries, and has a portfolio of more than 30 brands, such as Sulwhasoo, Laneige, Mamonde, Etude House and Innisfree. It is one of the largest cosmetics companies, not just in South Korea, but in the world.
“We are the number one beauty and personal care brand in South Korea and were the first Korean corporation to enter India with direct management, with our own subsidiary,” says Paul Lee, managing director and country head, Amorepacific India. “We started our business in India with Innisfree, which uses natural ingredients from Jeju Island in South Korea. We started with Innisfree because India had a huge demand for brands with natural products. Then we introduced Laneige and Sulwhasoo, which fall in the luxury skin care segment, and these were followed by Etude, which is a makeup brand.”
Amorepacific entered India sometime in 2012, taking tentative steps in a fledgling market with minimal investments and a retail store in Delhi’s Khan market. “At that time, the awareness of K-beauty was very small, and our momentum of growth started with the popularity of dedicated ecommerce players like Nykaa. In the last seven years, our annual growth has been 50 percent, our current growth is 60 percent year-on-year,” says Lee.
A potent potion for growth
Although industry players and experts feel there are multiple factors behind this growth, the popularity of Korean cultural elements is a significant one. “Korean beauty and personal care brands have multiple enabling factors. The global expansion of Korean beauty and personal care products has been on the back of a cultural export wave like any other earlier in history; in this case through the growing popularity of K-pop and K-dramas,” says Devangshu Dutta, founder, Third Eyesight and co-founder, PVC Partners. “In India, these brands initially had an influence in the Northeastern states, where customers are usually ahead on the fashion curve and also find resonance with the look of these brands.” He adds that factors such as the increasing number of Indian tourists to East Asian countries, and the growing presence of Korean and Japanese expatriates within India have also supported the growing footprint of these brands.
A spokesperson for Tira Beauty, which was launched in April 2023, agrees with Dutta, and attributes the demand for K-beauty products to the exposure that consumers have to K-dramas and K-pop. However, she adds that a significant factor is rooted in the products themselves. “These are the innovations that these brands are bringing to the table,” she explains. “The kind of formulations they offer are very well-suited for the Indian consumer. The ingredients are very efficacy oriented, and deliver a lot of quality, thus resolving a lot of concerns that consumers in India have.”
For instance, skin hydration is a core need of consumers, and a lot of Korean skin care products focus on hyaluronic acid as an ingredient. “Consumers who have sensitive skin or inflammation as a key concern get to use ingredients like centella asiatica, that a lot of Korean products use,” she says.
The spokesperson adds that the texture of the products is also a factor behind their popularity in India: “A lot of Korean sunscreens are light weight, a lot of their essences are suited for the Indian skin and the Indian weather. Both these factors are contributing to the rise we are witnessing in the space of K-beauty.”
Lee of Amorepacific highlights the use of unique ingredients such as fermented beans, ginseng and green tea that were never used before by American or European companies. There are also many options for consumers to choose from, depending on what is best suited for them. For instance, there is a product line with green tea for consumers with sensitive skin, and the same products are available for those with dry skin. “There are three key metrics that we have seen among Indian consumers: One is the demand for premium quality, two is the demand for glass skin, and the third is reliability.”
Lee also attributes market factors that have been instrumental in making Korean products more accessible to Indian consumers. “There has been a lot of change before Covid, and after Covid. From the macro perspective, the number of internet users with access to low-cost data plans has increased. During the Covid-19 pandemic, the number of new people watching OTT platforms such as Netflix also surged. From the Netflix perspective, I think India is one of the top three countries, where the number of subscribers is concerned.”
According to the Korea Trade-Investment Promotion Agency, the beauty market in India saw substantial growth following the Covid-19 pandemic and is projected to expand by 10 percent annually from 2022 to 2027, more than twice the global average growth rate for the beauty sector. According to market analyst Mordor Intelligence, the K-beauty market in India is expected to grow annually by 9.4 percent from 2021 to 2026.
Lee highlights the popularity of Korean OTT series such as Squid Games in making Indians familiar with Korean culture, and YouTube videos making a lot of people aware of K-beauty. “When we started operating in India, there were hardly two or three brands operating here, but currently there are more than 60 Korean brands in India. The influence of TV and music content has made people familiar with Korean culture, which is similar to Indian culture in being family-centric,” he adds.
Content creator Scherezade Shroff Talwar says, “The Hallyu [Korean] wave during the pandemic has definitely contributed to, what I would say, an over-consumption of Korean culture and I definitely contribute to it as well. K-beauty products have been around in India for a while, but with the increasing popularity of K-dramas and K-pop, people are seeing more such content across multiple platforms. This has contributed to the rising number of Korean brands in India, and the use of their products.” She recalls how, in November, she was in South Korea with her K-drama club, and the members had lists of the products that they wanted to buy there because they are not available in India.
According to a September report by market research firm Mintel, social media analysis in India reveals that there have been 6.2 million posts in the last two years discussing K-drama, K-pop, and K-beauty trends, predominantly among the 19 to 24 age group. This continued popularity in K-pop throughout the APAC region influences consumers’ interest in Korean skin care and beauty products, the report adds.
Lee says that Korean beauty companies have also been prompt to react to the demands in the market. For instance, Innisfree introduces new products every three months, and they are based on consumer feedback through social media and actual stores. Given the demand from Indian consumers, Amorepacific has also formed a task force at its headquarters which is dedicated to reviewing and studying the Indian market, with plans bring in more brands and businesses.
Data shows, adds Lee, that the import of Korean skin care products into India is increasing by 63 percent every year, going up four times compared to 2020. Amorepacific’s own research shows that 53 percent of Indian beauty consumers have already tried Korean products. “Fifteen percent of the entire skin care products market is now dominated by Korean products,” he claims.
Although Amorepacific decided to close all 23 of its exclusive stores in India because of the losses suffered during the pandemic, it decided to partner instead with local channels such as Nykaa, Tira Beauty and SS Beauty, and its products are today available across 400 counters in 45 cities. “Although our company is seeing 60 percent growth every year now, our retail area is doubling every year,” says Lee. “Our aim is to be available in 500 counters within a year.”
The availability and accessibility of Korean skin care and beauty products have also coincided with the rise of marketing products through influencers and content creators. The spokesperson for Tira Beauty says that influencers have played a massive role in the popularity of Korean products. “One of the reasons why K-beauty products do well across markets is because Gen-Z consumers tend to follow a lot of these influencers,” she explains. For instance, Tira launched the Beauty of Joseon sunscreen, and it went out of stock very quickly. “We experienced this because there was a lot of awareness due to influencer activations, and there’s a certain amount of virality these products enjoy even before they are launched.” She also gives the example of the brand Tirtir, which was launched on Tira Beauty in India in November. “The brand rolled out samples to influencers in India in July, and that helped propel demand to a great extent.”
According to business consulting firm Grand View Research, celebrity influencers have been beneficial to marketers due to their global reach, which often transcends cultural boundaries. Hence, the top strategy used by Korean cosmetics brands is to sell their products to Korean celebrities. Storytelling using Korean celebrities as brand ambassadors, and streaming advertisements and video tutorials all over the social media platform are some of the major strategies adopted by K-beauty brands.
Grand View Research gives the example of the lip layering bar of Laniege, which has emerged as a convenient tool for those who want to get the trendy gradient lip look with just a single application. Celebrities such as actors Song Hye Kyo and Lee Sung Kyung have used the product, enhancing its appeal and desirability among consumers.
Celebrities from different parts of the world promote K-beauty products, and this fosters a cross-cultural appeal and encourages individuals from diverse backgrounds to explore and adopt these products in their skin care routines. Following this global trend, in India, young celebrities have been roped in to appeal to Gen-Z consumers. For instance, actor Palak Tiwari became the first Indian brand ambassador for Etude, while actor Wamiqa Gabbi became first Indian brand ambassador for Innisfree, and Sara Tendulkar, daughter of cricketing legend Sachin Tendulkar, is the brand ambassador for Laneige.
Dutta of Third Eyesight says, “Influencers certainly have played a role in building the buzz around K-beauty and have formed a relatively cost-effective means to spread the message in the past. However, in recent years with a growing number of social influencers, there is more clutter as well on the channels.”
India not in the big league, but demanding
Although the rise of K-beauty products in India has been significant, the country remains a far smaller market for these brands compared to markets such as the US, Europe and China. According to Grand View Research, the global K-beauty products market size was valued at $91.99 billion in 2022 and is expected to grow at a compound annual growth rate (CAGR) of 9.3 percent from 2023 to 2030.
The consulting firm says the Korean cosmetics industry grew steadily during the Covid-19 pandemic, owing to an increase in awareness of the numerous benefits offered by the products. Moreover, due to a rise in popularity among consumers, major K-beauty companies are taking initiatives such as R&D, product launches, mergers and acquisitions to retain shares in the market and respond to changes in the marketplace by introducing a range of items.
Grand View Research valued the US market, one of the largest for K-beauty products, at $20.2 billion in 2021 and expects it to grow at a CAGR of 8.8 percent between 2023 and 2030. Compared to this, Statista valued the India K-beauty market at $486 million in 2021, and expects it to grow to over $1.3 billion by 2032.
Lee of Amorepacific says the US remains the largest beauty market as a whole, followed by China, Japan, the UK, France and India. “One of the differentiating factors between the US and Indian consumers is that the premium market in India is very small, and it is still a mass-product driven market,” he says. “Secondly, ecommerce in India is still quite small. In South Korea and the US, ecommerce just in the beauty segment, is 30 to 40 percent, while in India it is 13 percent. India is traditionally an offline market.”
He adds that despite the growth, Indians remain sceptical about whether Korean products are suitable for Indian skins, and there is demand for products that are made only for Indians. “Localisation, therefore, has become important for the company. Although we conduct clinical trials in different geographies, we are starting to take more feedback from Indian consumers, and we are ready to develop products only for the Indian market. For instance, we have introduced the Innisfree kajal and the Innisfree hair massage oil, and have developed lip colours for the Indian market.”
Although the company did not divulge revenue figures, it is expecting to grow six times in the next six years in India, and plans to introduce at least five more brands within the next seven years in this market.
(Published in Forbes India)
