MAM
Crocodile to launch home collection segment
MUMBAI: The internationally renowned Crocodile brand known for its “relax” wear at “value for money” positioning is expanding its range. Crocodile Products India (CPPL) a joint venture between the Rs 640 million Shivrams Associates of Coimbatore and the US $2.6 billion Singapore based Crocodile International Pte (CIPL), is planning to launch five new products during the current year.
In addition to four new launches in the garments category, CPPL will also be launching the home collection. The new product line up includes womenswear, childrenswear, two variants of men’s shirst and home furnishings.
CPPL currently markets 11 product lines, which are available all India now. The product lines will be increased to 30 by the end of 2003, according to a release. Internationally, Crocodile retails over 240 products. The release also adds that the brand’s USP lies in the fact that its products are priced 30 per cent lower than the competition.
“We continue to foresee a rapid growth in both knits and wovens, as we expand our customer base. Our obsession is to take Crocodile to every nook and corner of India and make our consumers experience Crocodile as a complete lifestyle brand. Looking forward, we will continue to increase the retail store network to 90 by the end of 2003. We would also step up our presence in multibrand outlets and convenience stores,” adds CPPL MD Venkatesh Sivaraman.
Recently, the Images Fashion Awards, instituted by a retail trade magazine placed the Crocodile brand among the top four brands in the country for its superior retail chain development, even as the CPPL MD Venkatesh Sivaraman was nominated among the top four professionals in the branded garments industry.
The awards instituted by Images Magazine aims to honour outstanding performers in the business of Fashion. The third edition of the award ceremony was held in Mumbai recently.
Sivaraman was quoted as saying: “We are honoured with this recognition. This is a strong reflection of our industry response. We are pleased with our performance, particularly with the retail sales of our core product categories.”
Nominations were judged on the following parameters: IFA Jury honoured outstanding performances amongst fashion, brand and retail professionals, companies, campaigns and new launches. These awards were based on over 15,000 nominations received from the industry followed by a systematic selection process wherein the verdict of jury would be considered as final.
IFAs include two categories of awards: popular awards and industry awards. The popular awards identify the top fashion brands of the country. For this, Images undertook a nationwide consumer survey with CVOTER, wherein more than 6500 up-market buyers give their verdict on their favourite brands. The final outcome was a scientific aggregation of factors based on top-of-mind recall, actual purchases and consumers’ choice for the next buy.
The brand has been positioned on its international retail philosophy of “value for money”. As a result, Crocodile has clearly emerged as a quality lifestyle brand which provides its customers lasting value in terms of quality, style as well as pricing.
CPIL is a premier garment house of South Asia with accent on casuals and relaxed life style products. This global player based in Singapore has its brands and businesses spread over the continents. Japan, Singapore, Malaysia, Taiwan, China, Nepal, Thailand and South East Asia are its strong holds with a combined turnover of over 2.6 billion Singapore dollars.
The Images Fashion Awards claims to be the sole voice of India’s brand-driven fashion retail market, felicitates the country’s most admired fashion brands, companies, stores and professionals for their outstanding achievements. With recognition from the government and the trade, Images Awards are regarded as the highest accolade in the business of fashion, a release claims.
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.
