MAM
Lux posts Rs 23.9 cr Q1 profit as revenue slips to Rs 613.6 cr
MUMBAI: Lux Industries may be in the business of keeping India snug, but its June quarter performance proved it can hold its own even when topline shrinks. The Kolkata-headquartered innerwear giant reported a standalone net profit of Rs 3.92 crore for the quarter ended 30 June 2025, down from Rs 48.17 crore in the March quarter but only moderately lower than the Rs 34.56 crore booked a year earlier.
Revenue from operations stood at Rs 604.49 crore (including Rs 3.34 crore in other operating income), a drop from Rs 819.14 crore in the preceding quarter but up from Rs 535.3 crore in Q1 FY25. Total income came in at Rs 613.55 crore.
The quarter saw cost of materials consumed jump to Rs 423.09 crore, while subcontracting and jobbing expenses held high at Rs 188.52 crore. A sharp Rs 199.44 crore reduction in inventories helped cushion the impact on margins. Other expenses fell sequentially to Rs 106.28 crore from Rs 139.38 crore, with employee costs at Rs 42.20 crore.
Finance costs edged up to Rs 6.23 crore, while depreciation stood at Rs 7.09 crore. The company’s total expenses were Rs 582.40 crore, leading to a profit before tax of Rs 31.15 crore.
Tax outgo for the quarter was Rs 7.23 crore, translating to an earnings per share (EPS) of Rs 7.95 well below March’s Rs 16.02 but reflecting stability given the seasonality in the hosiery and innerwear business.
With a paid-up equity capital of Rs 6.26 crore and reserves of Rs 1,740.36 crore, Lux remains comfortably capitalised. For the full year ended March 2025, the company had clocked Rs 2,565.69 crore in revenue and Rs 166.09 crore in net profit.
Lux’s Q1 may not have been a blockbuster, but in an industry often pulled and stretched by raw material prices, seasonality, and consumer sentiment, the numbers suggest a company keeping its fit just right.
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.
