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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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May 5, 2025
Mint, 5 May 2026
Priyamvada C., Sneha Shah
Urban India’s pet parents are driving a wave of investor interest in the pet care space. A clutch of startups such as Heads Up For Tails, Supertails, and Vetic are now in fundraising talks amid rising demand for premium products and services
While Supertails looks to raise about ₹200 crore by the end of this year, Heads Up For Tails is eyeing an investment from domestic investment firm 360 One Asset over the next few months, according to mul tiple people familiar with the matter.
Vetic, a tech-enabled chain of pet clinics, is looking to raise a sizeable round and has begun discussions with investors, they said, adding that some of these transactions may see existing investors part exit their stake.
Supertails and Vetic did not immediately respond to Mint’s requests for a comment. While 360 One declined to comment, Heads Up For Tails’ founder Rashi Narang denied the development.
Investor interest in pet care surged in the years following the pandemic, driven by a wave of new pet adoptions and rising disposable incomes. In 2023, pet care startups raised a record $66.3 million across 16 rounds, led by one major transaction ― Drool’s $60 million fundraise.
While 2023 saw a funding spike driven by Drool’s large deal, overall funding activity in 2024 was more broad-based, with fundraising at $17.9 million spanning 13 rounds, as per Tracxn.
“Pet ownership in India is estimated to be less than 10% of overall households, but growing at a rapid pace with rising incomes, especially among urban consumers. In developed economies, pet ownership can exceed three in four households, and that headroom for growth is reflected among the upper income segments in India,” said Devangshu Dutta, chief executive of Third Eyesight, a management consulting firm.
He added that urban couples and singles in many cases are even opting to become “pet parents” instead of having children.
Platforms such as Supertails, Drools and Heads Up For Tails have been the big beneficiaries of this shift. Drools raised $60 million from LVMH-backed private equity firm L Catterton in 2023, while Supertails raised $15 million led by RPSG Capital Ventures in February last year.
Similarly, Supertails, which is in talks to acquire Blue 7 Vets, a multi speciality veterinary clinic, as part of its strategy to expand offline, will also raise capital to fund the acquisition of new customers, investments in technology, and the expansion of healthcare services, including Super-tails Pharmacy and build an omni-channel experience for consumers.
The company raised about $15 million in its series B funding round last year led by RPSG Capital Ventures and existing investors Fireside Ventures, Saama Capital, DSG Consumer Partners and Sauce VC.
(Published in Mint)
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February 23, 2025
Chitra Narayanan, BusinessLine
New Delhi, 23 February 2025
India’s formidable array of craft traditions got full play at the just concluded Bharat Tex 2025, the mega textile trade show in New Delhi that showcased the best of Indian weaves to the world. But if there was one theme that dominated this year’s textile extravaganza, aimed at generating more exports, it was the focus on zero-waste fashions and upcycling. Everywhere the eye could see were standees and gigantic posters pushing the message of conscious consumption and sustainability — be it regenerative cotton, innovative models of textile waste collection, or eco-friendly fibres.
Taking centre stage at one of the halls at Bharat Mandapam, the venue, was a section that showcased age-old traditional arts like rafugari (creative darning or artistic mending), patchwork quilts and toys, and chindi durries (the art of weaving rugs and carpets with waste).
Juxtaposed against these ethnic ways of upcycling waste were the modern works of startups that rose to the textile ministry’s grand innovation challenge to work with discarded materials. From microbial dyes that are non-polluting to flowing fashionable lehengas created out of textile waste, the startups showed that a lot can be done in this area. The ministry had challenges in three more segments — jute, silk and wool.
Some takeaways from a walk-through of the textile trade show:
Closing the loop
The fashion and textile industry generates enormous waste. How to cut down on this was a subject of much deliberation and showcases. There were a lot of good ideas on display, showing that a fair amount of work has been done with fibres (bamboo, banana, flax), as well as creativity and ingenuity in weaves and finished garments.
As Devangshu Dutta, Chief Executive of the consultancy Third Eyesight, points out, due credit must be given for the good work going into generating solutions that will reduce waste, be it textiles that are reprocessed and reused as yarn, or refashioned garments or reloved apparel. But, as he adds, on the other hand we have brands that are constantly looking to grow their business and there is a race to the bottom in terms of price. The relaunch of fast fashion retailer Shein in India is sending conflicting signals. “The basic engine is pumping out more and more products, and that has to be tackled,” he says, pointing to the competing forces at work.
The source of hope, he says, is the fact that the young are a bit more conservative about how they consume and what they consume.
Sandip Ghose, CEO of MP Birla Group, which has one of the oldest jute companies in India, was among the visitors at Bharat Tex. “As an industry insider, what I found good at Bharat Tex was that quite a bit of research seems to be on, both for finished fabric and for weaving. There was a lot of work on making jute look aesthetic. There were some vanity projects like tea leaves packed in jute bags. But the challenge is in two areas — commercialisation, and scaling up of these ideas,” he says.
He rues that the jute sector has not taken advantage of the production-linked incentive scheme at a time when the world is looking for eco-friendly and biodegradable textiles. “A tripartite partnership between the Centre (Niti Aayog and textile ministry), State government, and industry would address the issue of industry’s dependence on subsidies, labour issues and exports,” he says, adding that if India is looking at textiles as a major export area, jute is an option that has been missed.
Spinning into luxury
A clear trend evident from a tour of some of the apparel and home textile pavilions is the move towards premiumisation, similar to what is visible in other sectors, noticeably FMCG.
Talking to the manufacturers, especially those focused on the domestic market, the story one heard was that consumption had slowed in the mass segment, but was reassuringly strong in the premium segment.
Several players were also moving into the luxury and uber luxury segments. Both myTrident and Welspun had striking luxury collections.
Another trend visible in the home textiles section was the use of celebrity designers — myTrident’s eye-catching collection by resort-wear designers Shivan-Narresh; and Welspun’s beautiful sets from Kate Shand and Payal Singhal.
“When the economy suffers, it is the poor and middle class who cut down. There is no pressure to reduce consumption at the upper levels, and companies will try to tap into demand that is recession-proof,” says Dutta, explaining the push towards luxury by textile manufacturers.
New trade routes?
Export houses seemed reasonably happy with the buyer interest. Some mentioned that it was interesting to see buyers from Russia at the fair. However, for those supplying to US entities and Western Europe, the buyer interest from Russia may not translate into deals, given the risk of sanctions they could face.
To sum up, it was a fairly good showcase of India’s textile prowess to the world, but whether it will ring in more export orders is debatable as many of the problems and challenges the sector faces were swept under the carpet.
(Published in BusinessLine)
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January 9, 2025
Sagar Malviya, Economic Times
9 January 2025
Starbucks, Barista, Chaayos and Third Wave Coffee are among café chains facing the brunt of a slowdown in discretionary consumer spending. The impact is more severe for these retailers as they opened hundreds of new stores last fiscal year even as losses widened. To be sure, smaller chains such as Tim Hortons and Blue Tokai have bucked the trend.
Experts attribute the expansion rush to the urge among these retailers – both chains and standalone stores – to outpace competition. In certain instance, it led the same retailer to add stores in the same location, impacting its own growth instead of growing the pie.
At Rs 250 to Rs 350 for a cup of coffee, most chains target affluent, discerning coffee enthusiasts with artisanal brewing and experiential consumption, restricting the consumer base.
Devangshu Dutta, founder of retail consulting firm Third Eyesight, said the number of outlets have been expanding since 2022.
This was true for not just the new brands but also existing ones, Dutta said. “Cafe density in larger cities has gone up dramatically in the last couple of years.”
Growth rate fell to just 5% in FY24 from nearly 70% at Barista and Chaayos while Starbucks’ sales growth declined to 12% in FY24 from 70% in FY23. Third Wave saw sales growth slump to 67% from 355% during the period. Cafe Coffee Day posted a 9% increase in FY24, though sharply slowing from 59% a year ago.
Tim Hortons, however, more than doubled its sales last fiscal, its first full year of operations. Blue Tokai also bucked the slowdown trend with a 70% growth in FY24, compared to 73% in FY23.
Blue Tokai cofounder Matt Chitharanjan believes growth in India’s out-of-home coffee market is more than just a caffeine surge—reflecting the country’s shifting economic fabric. “Coffee consumption is strongly linked to income growth and India has reached a tipping point where it will support growth in the segment and should only accelerate going forward,” Chitharanjan told ET. “We have not seen any slowdown in coffee consumption and our positioning is also more product centric instead of just a cafe, which helped in double-digit same store sales growth.”
Tim Hortons, a Canadian coffee chain, which opened its first outlet in India in 2022, plans to have over 100 stores in the next three years. British coffee and sandwich chain Pret A Manger too launched its first shop in Mumbai as part of a franchise agreement with Reliance Brands. It plans to open up to 100 stores over the next five years. Third Wave and Blue Tokai are running more than 250 stores combined while Starbucks had over 330 stores as of March-end.
Tata Starbucks—the equal JV between Tata Consumer Products and US-based Starbucks Corp—said store footfalls have become a concern and the company has tweaked portfolio and pricing to attract traffic. Last year, the chain introduced classic hot and iced coffee starting at Rs 150 for a small cup, about 20-30% cheaper than regular coffee offered at Starbucks and other cafe chains.
“The stress is being seen across the quick service restaurant segment. It’s an overall consumer spending issue, especially in urban areas. And my hypothesis is probably food inflation is higher than what we think,” Sunil D’Souza, MD at Tata Consumer Products said during the December quarter earnings call.
Globally as well as in India, coffee growers have been hit with uncertain weather conditions while geopolitical factors are also affecting supply chains, which in turn, lifted prices to a record high. “The biggest challenge is erratic weather and climate change which has sent coffee prices to a 50-year high, but we will have to see how it impacts our pricing and profit after the current harvest,” said Chitharanjan at Blue Tokai.
(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)
