MAM
Gloob decor launches Flipspaces
Mumbai: Gloob Decor, a leading brand in home décor and home improvement industry with more than 500 channel partners in 100 cities across India, today announced it has sold over 50 lakh rupees of Flipspaces licenses on its launching day.
Flipspaces ( www.flipspaces.com ), which was launched on 1st November 2014, is India’s first multi-category Home Decor Visualizer application in home improvement market with a collection of more than two lakh product variants ranging from wallcoverings, clocks, sculptures, furniture, canvas frames and other home accessories. The web based application is designed exclusively for home décor and home improvement consumer market targeting architects, interior designers, contractors, developers, home décor store owners and other industry players. It can also emerge as a strong platform for all vendors, suppliers and other major stake holders in home décor industry.
Flipspaces allows users to visualize home décor products in relevant environments sorted by type of space (home, office, school) or even the colour tone of an environment. Flipspaces further aims at replacing the traditional physical catalogs reducing the cost and dependency on it. As the cost involved with traditional catalogs is significant, companies usually charge multiple lakhs of rupees for the catalogs only.
Kunal Sharma, Founder and Director, Gloob Décor said, “The market for tech-based HDV (Home Décor Visualizer) can be pegged at about 10,000 Crore in India alone. The sales figure over 50 lakhs rupees on the launching day is just indicative of the market potential of technology in this space.”
Mr. Ankur Muchhal, Co-founder, Managing Director pointed out, “we feel that the consumer experience for while buying home décor can be hugely improved than the std image plus description model which is widely prevalent now. Flipspaces envisions an augmented reality feature which will firmly establish Gloob as a leader in the technology aided home improvement distribution. We have a very strong R&D team which is coming up with new modules which can further disrupt distribution in the home décor market.”
Mr. Vikash Anand, Parter and Director, Sales added, “Our background in technology and product design along with a strong Pan-India sales presence gives us an extra edge to gain market entrenchment faster than any other new player. The web based application is designed based on extensive market research and customers’ feedback and has the ability to disrupt the market redefining the product buying experience in home improvement from raw material selections to visualizations to cost analysis.”
Mr. Mrinal Sharma, Partner and Director, International Sales and Strategic Alliances, added, “we are looking to explore partnerships with like- minded International Partners for the distribution of this application. Flipspaces has the potential to becoming a major change-catalyst in the global home improvement industry pegged close to $ 550 billion.”
Advantages of Flipspaces:
India’s first home décor visualization application
Substitutes physical catalogs which are costly, heavy and restrictive in merchandizing
Offers huge product collections and variants for any level of interior designing
Allows sorting by space, theme, colour and product category
Offers high quality visualization in relevant environments
Allows independent pitching for sales with login ID and password to anyone, anywhere
Helps copyright by time bound login to prevent sharing and copying
Offers free shipping for most products listed in the catalog
Supports for turn-key project implementation in key cities
Allows creating quotations at consumer end with features of tracking quotations and invoice
Offers sales reporting and task management system
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.
