MAM
GUEST ARTICLE: How D2C brands are using metaverse and how it will transform virtual commerce
Mumbai: India’s direct-to-consumer (D2C) brands have grown tremendously during the pandemic and in the post-pandemic era, with a large cohort of consumers moving to digital in search of innovative products and more engaging and immersive experiences. The pandemic caused D2C brands to become super popular, which in turn forced large and established companies to jump on the D2C bandwagon. According to KPMG, there are over 800 D2C brands in India today, and the D2C sector, currently worth $44.6 billion, is expected to touch $302 billion by FY 2030.
D2C brands target young consumers, millennials and Gen Z, delivering personalisation at scale and increasing innovation in the virtual world and tap into the growing global virtual-commerce market, estimated to be worth $190 billion by CB Insights.
With technology becoming more affordable and sophisticated, D2C brands are at an advantage. In a controlled, immersive virtual environment, brands can offer customers the complete – albeit virtual – brand experience and deliver a lasting impact. For example, a virtual store in the metaverse is a brand experience in itself, with the brand mnemonics, signature sounds, layout, and colours. Consumers also get the option to interact directly with brand representatives. This enhanced brand experience goes a long way in building brand trust.
The metaverse is also good at customising experiences. Great customer service builds brand loyalty and customer retention. By analysing vast amounts of data on a customer’s interactions in the metaverse, brands can predict which products, solutions, and experiences individual customers would prefer and like. D2C brands are in a better position to serve better without being intrusive, thereby building and elevating the overall brand experience.
Popular homegrown D2C brands like Super Smelly, Argatin Keratin, Ochre Athletica, Indus People, and Zorin Furniture are looking to disrupt the market with their product positioning and personalised consumer experiences.
They have also taken bold steps to connect with their consumers in the metaverse and are working on innovative ways to enhance the virtual brand experience. They are already offering products and experiences and enabling commerce in the virtual world.
The metaverse is growing at a fast pace. In the first six months of 2022 alone, globally, over $120 billion has been invested in building metaverse infrastructure and technology. Moreover, the metaverse is steadily becoming an important component in the omnichannel sales strategy of companies.
Marquee brands such as Gucci have debuted in the virtual world with the metaverse. Gucci created Gucci Garden, a digital replica of the real-world installation (called Gucci Garden Archetypes) in Florence, Italy. Similarly, Sotheby’s, the world’s largest broker of art and luxury goods, created a metaverse gallery showcasing curated virtual art houses.
According to McKinsey, 79 per cent of consumers active in the metaverse have purchased products in the recent past.
These numbers show the power of the metaverse as a selling platform. It’s important for D2C brands to identify the right platform to reach out to their target audience and have an interactive content strategy to engage them.
Importantly, the privacy and safety of consumers have to be at the centre of every consumer-facing engagement that brands plan for consumers in the metaverse.
The author of this article is VOSMOS co-founder & Kestone president Piyush Gupta.
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.
