MAM
Condé Nast International launches “Vogue Business” globally
MUMBAI: Condé Nast International today announced the launch of Vogue Business, a new business media title offering a truly global perspective on the fashion, beauty and luxury industries.
Headquartered in London, Vogue Business draws on insights from 29 markets, from China, India to the United States, and taps into Condé Nast International's unrivalled global network ofbrands – Vogue, GQ, Glamour and Wired – fashion and luxury experts, industry leaders and business partners.
While sharing the Vogue name, Vogue Business is operated as a wholly separate entity with an independent editorial team, developed with its own distinctive voice.
Vogue Business, rooted in facts and data, fills the gap in the market for industry decision-makers, from startups to CEOs. The editorial team covers the critical intersection between fashion and adjacent industries — most notably technology, the driving force of change in the fashion business.
“In a consolidating media landscape, the launch of a new global title is a rare thing”, said Wolfgang Blau, President of Condé Nast International. “No one else in the world employs more fashion journalists in more places than we do. Our global network of journalists, digital editors and researchers are immersed in the relevant fashion trends on all inhabited continents, giving the team of Vogue Business access to an unparalleled depth of knowledge, from local design trends to changes in manufacturing, training, technology and distribution.”
Commenting on the Vogue Business Launch Alex Kuruvilla, Managing Director, Conde Nast India said,“Vogue Business will provide a much-needed window to the world of fashion and luxury – the Indian fashion and luxury industry will have an opportunity to tap into the unique insights provided by Vogue’s global network of journalists and editors. This truly global platform will provide a detailed insight into trends and technologies that will impact the industry, news updates in the fashion business and in-depth analysis across the fashion world.”
Vogue Business is edited by Lauren Indvik, a seasoned fashion and business journalist and former Editor-in-Chief of Fashionista.com. For the past two years, she has led the Vogue International news and features team in London, collaborating with Vogue teams globally.
“We take a new global, visual and data-driven approach to journalism," says Lauren Indvik, Chief Editor of Vogue Business. "Our journalism is designed for maximum impact and accessibility, making it easy to understand key ideas at a glance, and to enable fashion leaders to make the decisions that will grow and future-proof their businesses and careers.”
In today's digital-first media environment, new publications often begin with a website. When Condé Nast International decided to launch Vogue Business it began instead with a newsletter, prioritising high engagement with a select audience over total reach.
Vogue Business represents a new way of launching products for Condé Nast. Designed as a global title from its inception, it has been created by applying an incubator model of agile development and constant experimentation together with our beta users in 29 markets.
“Our development methodology has ensured we understand our audience intimately, thanks to in-depth user research and constant reader feedback,” says Ciara Byrne, Director of Business Development at Condé Nast International.
Key areas of editorial focus are:
* An analysis of trends across the fashion industry, from design and manufacturing to marketing, distribution, show production and talent search
* The impact of broader global market dynamics, from climate change to geopolitics
* Cultural patterns and shifts that will impact retail and vice versa
* How technological and scientific advancements will shape the ways products are produced, marketed and sold
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.
