MAM
MUFTI Brings on Board Brand Marketing Expert Vipul Mathur as Chief Operating Officer
National, 25th September 2018: MUFTI, India’s leading clothing and fashion brand has announced the appointment of Vipul Mathur as the company’s Chief Operating Officer. He brings in 20 years of experience in brand management, retail operations and merchandising and was previously employed at reputed organizations such as Aditya Birla Fashion and Retail Ltd., Madura Fashion and Lifestyle and Van Heusen among other companies. Prior to joining MUFTI, Vipul worked as the Brand Head for SKULT, before which he was the Chief BNM (Buying and Merchandising) Officer with Aditya Birla Online Fashion (ABOF).
A B.Tech graduate, Vipul completed his post-graduation from the Goa Institute of Management. In his current role at MUFTI, he will be responsible to augment consumer experiences and propel the brand towards a stronger growth.
Speaking about bringing Vipul on board, Kamal Khushlani, Founder & Managing Director – Credo Brands Marketing PVT LTD. said, “We are delighted to have Vipul as a new addition to our top management team. MUFTI is a renowned brand that believes in innovation and originality, thereby providing exceptional products to customers. In the past two decades, we have built a deep and strong consumer loyalty which has led us to be one of India’s most profitable brands. With the 300th store opening this year, we are confident of garnering sales of more than 4 million garments in the next 12 months. Vipul’s credentials and deep understanding about brands will play a crucial role in building MUFTI as the first global fashion brand with Indian roots.”
Commenting on his appointment Vipul Mathur, Chief Operating Officer, MUFTI Credo Brands Mktg. Pvt. Ltd. said, “I look forward to embarking on a new chapter in my career with the largest Indian denim brand. With the branding landscape becoming immensely cluttered and competitive, it is stimulating to come up with fresh and unique ideas for a brand in order to stand out. MUFTI has a very strong product offering and a supply chain system, which makes it a very stable organization and brand. My focus will be to enhance consumer experience at all touch points with the brand and expand its product offering to make it a true lifestyle brand. I strongly believe that MUFTI will cross the 1000 crore mark 4 years from now. It is exhilarating to be part of the company during this exciting journey.”
An industry veteran, Vipul will be succeeding Mr. Harbir Singh Sidhu who has helped direct MUFTI towards becoming a national success.
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.
