MAM
Chaayos and its brand of tea fly high with Spice Jet
MUMBAI: Brand integration and partnerships are key to the startup world and often lead to innovative co-ops. SpiceJet, for example, has joined hands with the hip and upscale tea shop franchise Chaayos to serve hot steaming cup of masala chai to its passengers on-board.
For those who don’t know, Chaayos is a kiosk style tea startup that kick-started in Gurgaon and has gained popularity among the chai lovers in cities.
“Spice Jet is a people’s brand and our sustained efforts are always towards nurturing the ‘experience’ that our customers have with us. Chaayos is an expert in customised tea and with this partnership, we look forward to our customers savouring the chai drinking experience with us even while being on-board.” said SpiceJet spokesperson Ajay Jasra.
To highlight this partnership, Chaayos has launched a customized instant Masala Chai mix, exclusively for SpiceJet travellers and customers who can either pre-book or buy their favourite cup of chai on-board.
While co-founder Nitin Saluja was always proud of the cup of chai he made, he never thought this subconscious demand for a great chai outlet would lead him to actually establish a chai kiosk with fellow IITian Raghav Verma in 2012. Right now, between, Gurgaon, Chaayos has 25 stores to the franchise’s name and has broken even with the initial investments, said Saluja.
The sole purpose behind Chaayos, as Saluja puts it, was to give people their ‘meri wali chai’ that would go on to compete with the CCDs and the Starbucks of the world. Co-founder Raghav Verma feels the partnership with Spice Jet as a step forward in that direction.
While reliving the street side chai shop memories from college or the home made tea blend that one enjoyed every morning is a great way to reminisce, how viable is setting up a tea shop as a business?
Establishing ‘what coffee is to the west, Chai is to India’ Saluja emphasised “how coffee is embedded in the cultural fabric of the west, tea or chai is embedded in our cultural fabric.” Saluja also goes on to say that it would be wrong to assume that the coffee shops in India are running in profit, just because they are backed by big brands. “I don’t think there are many coffee companies in India which are making a reasonable amount of money. This is because people don’t walk in for coffee, but the nice ambience and the space they offer. Whereas, when it comes to tea, it’s the product which is the USP,” Saluja opined. Chaayos clearly aims at the natural demand for chai in India as opposed to coffee.
While the blend remains a familiar, tried and tested one, Chaayos plans to experiment and come up with three to four new products each year.
Unlike similar food and beverage start-ups, instead of marketing Chaayos is banking on its product strength, smart pricing and retail visibility. “I think more than marketing, being present on more and right locations is what will do the trick for a store like us. Currently we are focusing on being present on as many locations as we can, and giving the right experience to the customers inside the store. By design the overall proposition is such that the customer should come back,” Saluja explained.
Great customised blends of tea isn’t the only weapon Chaayos uses for customer retention. “A regular cup of 200 ml chai costs Rs 59 at Chaayos. At face value that might sound more if compared to the roadside tapri, but a 60 ml tea at such a stall costs around Rs 10. So we aren’t charging a whole lot for the ambiance we offer along with the tea,” Saluja runs the numbers through. With a strong digital presence, Chaayos does a lot of social media and digital marketing to stay relevant to its customers.
Apart from Spicejet, the brand has also partnered with digital brands like Ola and Uber, as well as American Express, which also serves the purpose of driving the right customer base at the outlets.
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.
