MAM
Kaya Skin Clinic dons new brand identity
MUMBAI: Chain of skincare clinics, Kaya Skin Clinic, has announced a complete revamp of its brand identity. It has redesigned its logo and has come up with a new tagline- Love what you see.
The change is in line with a new market positioning and a shift in perceptions that Kaya now seeks to establish, moving from an expert solution provider for skincare problems, to a personal guide for total skin care.
Salt Brand Solutions is the creative agency behind Kaya‘s creative makeover and Eureka Moment has re-designed its retail identity.
Kaya Skin Clinic marketing head Suvodeep Das said, “Kaya has built a reputation as the ultimate expert that solves all skin problems. The brand is much more than just a problem-solver, it offers the consumer complete beauty transformations. This repositioning exercise is not just about communicating a change in brand identity – there is a new portfolio of services, new service design within the clinics and a new retail identity at the clinics that is being launched. The new look of Kaya is young and fresh, as personified by the face of this brand campaign, Giselle Monteiro.”
This rebranding will be rolled out across all Kaya Skin Clinics in India, product packaging and advertising.
Kaya‘s new look is inspired by insights gained through research and consumer feedback. It reflects the changing expectations and aspirations of the urban Indian woman. This moves the brand closer to what consumers want – a dermatology-based expert offering science-based solutions, customized to individual needs. The new Kaya is contemporary, inviting and aspirational, the company said.
The objective of redesigning the logo unit is to connote the brand‘s warmth and expertise. The primary color of the logo is Burgundy, which connotes expertise and premiumness. The font is softer and rounder at the edges, giving the brand warmth. The new tagline ‘Love what you see‘ is an expression of how consumers feel after a visit to Kaya.
Additionally, as a part of its new avatar, Kaya Skin Clinic has launched few new services.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
